It occurs to me, after realising that I wrote approximately 80,000 words last year doing 90 reviews of the 99 separate productions I saw, that I should post my reviews on here. So, here we are, three hours later, I’m still buzzing thinking about this one.
Published on Brighton Source, 8 February 2026.
Sometimes you see a piece of theatre that is so moving, so profound and utterly compelling that it takes your breath away. True stories, or a narrative against the backdrop of facts, can sometimes have this effect: that you can’t quite believe that this happened, that this is relatively recent in our past: within living history. But this is no dusty old documentary style retelling, this is beautifully written with a richness bringing every moment to life. There is no dip in energy; every single moment, look, word and character needs to be there.
We are taken to 1954, where two BBC executives start discussing the mere possibilities of making a documentary about homosexuality. It’s so taboo that they can’t even bring themselves to say the word for the entire initial discussion. Interwoven with this is the story of Tom, a young man who works as a tailor at Burtons. He anchors the story in gritty reality, showing the effects of world the philosophical discussions at the BBC live in. The criminality of homosexuality at that time, the social attitudes towards it, the commonly accepted prejudices of societal norms.
For Tom, he starts off not really understanding himself in the world, dealing with many people who see him for who he is before he does himself. His story is captivating against the backdrop of this forgotten documentary, of which a transcript is now all that remains, which we experience the development of at the same time as Tom’s story. The ultimate connection made between the two narratives is as inevitable as it is heartbreaking, and the sudden realisation that hits us is superbly done.
Sometimes a true story comes across as too worthy, or preachy: not this. Both Stephen M Horby’s rich and clever writing and Oli Hurst’s gorgeous direction ensure that the story is allowed to tell itself with all its thorns and roses. And there are some really funny moments that catch us laughing out loud. It’s an intense journey, if you let it be, and impossible not to have an emotional reaction to.
What’s incredible about this is that not only is the story superb, but the production quality matches it exactly. The clothing and setting takes us to the 1950s, and we meet an array of fully developed and rounded characters, played entirely by two people. Mitchell Wilson plays Tom with a naiveté is so real it’s almost palpable. His innocence, self-discovery and sunny interface with the world make him so loveable that his journey is all the more compelling, funny, touching, and devastating. Max Lohan and Andrew Pollard multi-role so effortlessly it’s jaw dropping: moving into position in a way to not distract from the action, changing an item of clothing as well as physicality and voice. These three actors together give us a masterclass in acting: sweeping us along with the story, making every moment believable, truthful and real.
This is astonishingly good theatre. In beautiful balance between an incredible true story and the telling of it to the highest standard of absolute theatre perfection. Powerful, moving and gripping: this is an important story. A salient reminder that laws, although enforceable, are not always right. Sometimes something is so good you want to stand outside the theatre and tell everyone outside to come in and see it. This is one of those moments. Unmissable, first class, astonishing theatre.
The Lantern Theatre, Brighton, 7 Feb 2026
The BBC’s First Homosexual until Sunday 8 Feb 2026 and tour: Inkbrew Productions.
Photos credit: Kelsea Knox
