The play sees the lives of several gay men and a bi man navigating their lives, and whilst the reason for their interactions always revolve around f**king, the depth of the piece is anything but shallow. Gay stereotypes are acknowledged but refreshingly not overplayed, and are occasionally confronted in the form of farce to prevent the piece from detracting from its focus of the raw characterisations. As The Recs ‘subtly’ alluded to in our opening paragraph, this clever refinement to portraying the lives of gay and bisexual men is rarely achieved successfully, but Steven Kunis’s direction is quite perfect.
If you’re coming for nudity, you won’t be disappointed, but there isn’t an ounce of crassness in this production. Kunis hasn’t bowed to any expectation of full frontal crudeness, instead opting for clever positioning and ‘cockography’ to ensure that whilst the audiences expectations are met and they still get to see the ‘motions’ of what is being portrayed, they aren’t left blushing at the sight of a stray genital here or there. This decision alone adds so much credibility to the piece, and sets it apart from its competition.
Every great playwright’s vision is totally at the mercy of the cast who they find to deliver it, and thankfully Anne Vosser has played a blinder in casting these four brilliantly diverse talents. All four of its actors hit every mark, setting the bar for acting in a fringe production commendably high. The three Brits achieve fantastic versatility in flipping between general American and British accents, to the point that when flipping between characters we consistently forgot it was the same actor. It must be remarked upon that the complexity of their ‘getting dressed and undressed’ choreography in the play would be enough to catch any good actor out, but each took it in their stride and there wasn’t a single pair of pants the wrong way around.