It was both sheer genius or full insanity on the a part of the one that determined that there was ever the potential of a stage adaptation of Lanarkshire writer and broadcaster Damian Barr’s deeply private and at instances harrowing 2013 memoir Maggie and Me.
Growing up homosexual in a Lanarkshire mining city throughout Margaret Thatcher’s Britain was no straightforward experience. In his memoir, Barr lays naked the ache of repeated abuse by the hands of his mom’s abusive boyfriends, continuously referred to as a poof and used as a punchbag by his college mates, and making an attempt to barter the minefield of being a younger homosexual man on the top of AIDS hysteria, Section 28 in full power, in an period with no quick access to data. Hard work, ambition and a nostril continuously in a e-book led him to the street out, a street that has finally led him to Brighton and a vastly profitable profession as a author and broadcaster. In the intervening years, life actually has been kinder.
But how far are we keen to go to exorcise the demons of the previous? Doubtless the unique ache of writing his e-book has been resurrected in bringing this story to the stage. Many facets of the unique work proving to be too troublesome to revisit, have been omitted, the timeline re-worked and far added to construct a vivid, explosive and at instances surreal portrait of life as a homosexual youth within the Nineteen Eighties. Even Maggie herself looms massive. The theatrical model explores how the memoir got here to be written and the folks and the tales that led to Barr making some peace along with his previous. Barr and co-writer Ley remind us all through that if you happen to don’t return you’ll be able to’t go ahead.
It is a piece that may be very a lot acquainted to those who have learn the e-book however equally unique from its supply. It is sort of a brand new memoir in itself. However a niggling doubt stays as a reader of the memoir that there’s a lot of wonderful element not noted and the magnitude of a number of the incidents and significance of a number of the characters is a bit of diminished in its dramatisation.
Kenneth MacLeod’s spectacular set strikes from the book-lined partitions of Barr’s writing shed in Brighton, by way of the halls and library of Brannock High School, the serene sanctuary of Carfin Grotto to the good coal bings of North Lanarkshire. Doors to and from the previous fairly actually open and shut all through.
Apart from DB performed by Gary Lamont and Wee DB Sam Angell, the remainder of the solid double, treble, quadruple and extra on roles. To the solid’s credit score every is distinctly and vividly realised. Most spectacular is Lamont who delivers a superbly measured portrayal of Barr, there may be gut-wrenching vulnerability however as a lot power and humour.
Maggie and Me is a becoming companion piece to the memoir. It is daring, courageous, emotive, unique and finally stuffed with hope. Barr says within the script: “stories are mirrors” and within the programme notes: “I’m handing you a mirror – I hope you glimpse something of your story in it and that you look over your shoulder and see you are not alone. Everyone in this theatre has a story. And stories are for everyone.” Personally, I imagine everybody deserves to see extra tales like this of their theatres.
Reviewed on the Tron Theatre in Glasgow then touring to:
Eden Court Inverness, Perth Theatre, Lanternhouse Cumbernauld, Dundee Rep, Royal and Derngate Northampton and Traverse Theatre, Edinburgh (offered out).
Further particulars: Maggie & Me | National Theatre of Scotland (nationaltheatrescotland.com)
Images: Mihaela Bodlovic
