As a gay man who frequents the theatre, it can become rather tedious when most of the characters you can relate to on stage are stereotypes imposed on the community by society—think limp wrists, sassy mincing, and high-pitched squeals. Luckily, Adam Zane has created five individual characters who are more than their sexuality (and their attire—or lack thereof); they’re human. 

Originally conceived as a theatrical soap opera, Jock Night has evolved into a full-scale, two-act play with a stagnant but purposeful set created by Dick Longdin, whose attention to detail cannot be overlooked. From Absolut bottles, a bust of an icon, and bottles of poppers to the canvas above the bed highlighting the queer nightlife of Manchester, it gives an inkling of what is to come in Ben’s bedroom. 

Don’t be fooled by the marketing and/or production images of Jock Night—it is so much more than a play about five gay guys donning the inventory of Clonezone. Zane’s play not only explores the current ‘issues’ facing the gay community, but he also manages to educate the audience in a non-patronising way, injecting humour that will make you laugh your jocks off—I can honestly say I’ve not laughed that much in the theatre for a long time. 

The quintet of performers brings Zane’s characters to life with ease. David Paisley, as Ben—the patriarch of the group (don’t call him Daddy)—grounds the production, giving a warmth often missing from gay characters on stage. Eddie Ahrens takes you on a rollercoaster of emotions in his role as Kam, perfectly executing the one-liners Zane’s hilarious script delivers—a perfect contrast to Matthew Mitcham as Simon, who effortlessly plays the ‘mean gay’ role. James Colebrook, as Russell, excels in Act Two, when his usually intellectually challenged character steals one of the final scenes through his moving portrayal, adding another layer to this dynamic piece. Although a completely underutilised character, Gabriel Clark as AJ steals the show. His journey from the newest ‘chicken’ of Canal Street to educated twink is heart-wrenching, and Clark gives a perfect performance. 

Where the play falters slightly is in its pacing. At times, the dialogue—although naturalistic—occasionally feels contrived, particularly during the more intimate scenes. Credit to intimacy director Sam Goodchild; he has worked hard on this play. Likewise, with the transitions: due to the LED lighting on the bed being a constant, the lack of blackout and minimal sound design pull you out of the narrative and back into your seat in the theatre. 

You might have noticed that at no point have I discussed the narrative. That’s because I implore you to buy a ticket and go see this story of hilarity, heartbreak, and ultimately, love. 

Playing until 31st May at Hope Mill Theatre in Manchester, further information and booking details can be found here.

Tickets received in exchange for an honest review.

Photography by Dawn Kilner.