Review: DANIEL'S HUSBAND at Marylebone Theatre

An older man Barry (David Bedella), and his new twink boyfriend, Trip (Raiko Gohara) join another couple at their home for drinks. The banter and bonhomie are free-flowing and good natured, until the youngest and newest member of the group dares to challenge why the couple who have been together for 7 years, haven’t entered into civil partnership or matrimony. Since gay marriage was a hard fought-for right, he concludes that it seems bizarre, even irresponsible, that they haven’t done so. As we learn, the matter is more nuanced and has history for the pair.

Mitchell (Luke Fetherstone) clearly has very defined views on gay marriage and how such unions shouldn’t be based on the religious norms of heterosexual marriages. It transpires this has always been a bone of contention between he and his partner Daniel (Joel Harper-Jackson), who clearly has wanted to make their union official almost since their first meeting.

As the pair’s work life begins to add pressure, family relations also contribute to a general sense of disharmony - particularly in relation to the strident matriarchal figure of Daniel’s mother Lydia (Liza Sadovy) who enjoys coming to spend extended periods at the house where her views and blunt statements ruffle feathers and cause frosty stand-offs. A frequent device used in these moments by director Alan Souza, is to have the actors stare beyond the footlights and above the heads of the stalls patrons at an imaginary painting by Daniel’s late father. His mother uses the canvas to belittle her former husband’s talent, whilst his partner thinks it is ugly and sharp. Daniel has to repeatedly point out that it is his home, and he’ll hang the painting in memory of his father wherever he wants. It’s typical of a few segments where characters are required by the script to express opinions which feel unnecessary and forced, simply as a means of tidying historical loose ends and generating theatrical friction.

David Bedella as Barry in Daniel's Husband. Photo by Craig Fuller

What began as a fairly light-hearted and frivolous fly-on-the-wall gay drama, suddenly takes a lurch into unexpected emotional territory during a heated exchange. The upshot forces Mitchell to reevaluate his entire stance on gay marriage as he and those around him come to terms with the aftermath which has far-reaching consequences and taps into the historical experience of many gay couples.

The character of Barry, who also acts in a professional capacity as Mitchell’s publishing agent, makes a reappearance towards the latter stages, performing almost as a silent referee in some of the play’s most tense moments. Trip also returns in a professional capacity towards the latter stages. It is then that we realise the significance of his earlier eloquent description of his calling and why it lent him such an air of maturity and kindness beyond his years.

Plays at Marylebone Theatre until 10 January