dfp_header_hidden_string

Get our free email newsletter with just one click

Homos, Or Everyone in America review at Finborough Theatre, London – ‘intimate portrait of modern gay life’

Tyrone Huntley and Harry McEntire in Homos, Or Everyone in America. Photo: Marc Brenner Tyrone Huntley and Harry McEntire in Homos, Or Everyone in America. Photo: Marc Brenner

Now same-sex marriage is legal, is the struggle for LGBT+ equality over? Has the gay community lost its reason for being in today’s US? Jordan Seavey’s bittersweet Homos, Or Everyone in America grapples with these questions through the lives of two New Yorkers.

Like flashes of fragmented memories, the action is played out across Lee Newby’s intimate sandbox set, with the audience in the round, alongside mounds of strongly scented bath bombs. Jumping between 2006 and 2011, these moments are initially disconnected, the temporal shifts between them choreographed like a spooling videotape. Friendster, MySpace and Facebook provide time indicators as the couple’s relationship blossoms, deepens, falters and rekindles. Yet as the episodes are extended and coalesce into coherence, the creeping spectre of a horrific attack haunts their privileged world.

Tyrone Huntley’s Academic exudes generosity and affection towards Harry McEntire’s Writer, whom he jokingly calls a “gay Woody Allen”. Their captivating chemistry ensures their self-analytical arguments rarely pall – they debate gentrification in Williamsburg and Park Slope, the use of poppers, the politics of a threesome with handsome stranger Dan (Dan Krikler) and the modern relevance of marriage as an institution.

The Magnetic Fields’ Kiss Me Like You Mean It forms a powerful thread through the piece, which has an ultimate message that love conquers all, even though the struggle for recognition may not be over. With radical changes in the US political scene since it was written, Homos, Or Everyone in America proves a valuable reminder that hearts and minds – not just the law – need to change for equality to be achieved.

We need your help…

When you subscribe to The Stage, you’re investing in our journalism. And our journalism is invested in supporting theatre and the performing arts.

The Stage is a family business, operated by the same family since we were founded in 1880. We do not receive government funding. We are not owned by a large corporation. Our editorial is not dictated by ticket sales.

We are fully independent, but this means we rely on revenue from readers to survive.

Help us continue to report on great work across the UK, champion new talent and keep up our investigative journalism that holds the powerful to account. Your subscription helps ensure our journalism can continue.

Subscribers to The Stage get 10% off The Stage Tickets’ price
Verdict
Poignant, intimate portrait of modern gay life with captivating performances from Tyrone Huntley and Harry McEntire
^