To Be Straight With You
National Theatre, London
HOMOPHOBIA: why is it so prevalent and are things getting worse? In To Be Straight With You, Lloyd Newson’s new dance-theatre piece for theatre company DV8, this ghastly issue is explored using a word-heavy format that reflects the origins of this show. Appalled by the intensity of hatred expressed by all kinds of people towards gays, Newson employed a researcher who interviewed 85 people about the subject.
The news from the frontline is not good. Anyone who thinks that they are living in a tolerant, post-gay world, where no one is discriminated against anymore, had better hurry down to the South Bank and see this show. Depressingly enough, it reminds us that the world is very bad place, where religious belief is — with a couple of notable exceptions — responsible for extreme homophobic thoughts and horrific acts.
The equation is simple: God hates gays, so I can hate them, too. And attack them, hurt them and kill them. The examples from Jamaica, Africa and the Middle East make for some horrific watching. And then the examples of intolerance nearer home – from European citadels of darkness such as Roman Catholic Poland or staunchly Protestant Northern Ireland, for instance – are equally horrible. This stuff is really beyond the pale.
But, given that extreme homophobia is not a new thing, how do you dramatise this issue? Newson and DV8 have created a show that is full of verbatim testimonies of people who hate gays or who are gay and have suffered from other people’s hatred. From the songs of black rappers to the sermons of religious fanatics, the words — often projected onto screens at the front or back of the stage — are simply revolting. They stick in the craw.
With this massive mountain of words, DV8’s trademark dance movements take second place. Most of the dancers appear on stage individually and speak the words of the testimonies, while making small movements that amplify the characters of the speakers. So delicate hand movements indicate a shy person, while more elaborate hand, arm and shoulder movements suggest a more flamboyant personality and the skipping dancer conveys a welcome ebullience.
Occasionally, a group of actors will dance together or move in unison, usually seated on chairs or using chairs as platforms or props. But there are few moments of explosive action and few instances of breathtaking choreography. This is disappointing and brings to mind one of the main faults of the show: it is so one-sided. Wouldn’t it have been better to have some moments of affirmation, as well as the constant repetition of negativity?
Politically, it’s often easier to show the horror of current conditions than to suggest images of transcendence. To Be Straight With You too often feels like a school lesson, aimed at kids who don’t know that homophobia even exists. Meanwhile, some of the material, especially the lyrics of black rappers, has been discussed for years now. Here it feels like old hat – Like padding.
Still, DV8 are a sufficiently talented group so that, even with these obvious disadvantages, they manage to create a show which is, with its bouncy music, mysterious lighting and beautiful physical movement, often a pleasure to watch. However, in such a very word-heavy piece, it’s also a real pity that the brain can’t be as stimulated as the eye. All in all, this is a missed opportunity.
Aleks Sierz
About The Author
