I saw First Timewhen it premiered at Waterside Arts in 2018. It was World Aids Day and I sat in the audience remembering all the young men I had worked with at Manchester Aidsline, now George House Trust. It was a profoundly moving and life affirming experience. It was impossible not to weep for old friends long passed away but also to celebrate all those lives now saved by medical advances. I saw the show again in 2019 when it had a hugely successful run at Edinburgh Festival. So watching it for a third time exactly three years on, I wondered if it would still pack the same powerful emotional punch.
Living in a global pandemic would an audience perhaps have sympathy fatigue or just be too shell shocked from Covid-19 to really care about the story of a young man who was once a Head Boy in Stockport? A 16 year old boy who once upon a time ate a stolen chicken and stuffing sandwich from Boots. A 17 year old boy who was utterly alone when he was given a HIV diagnosis. A young man who struggled with such shame, fear and sadness that it was 14 years before he could share his diagnosis with his own family. A full house in the theatre, a sea of candles glimmering in the darkness and a standing ovation was proof enough that this production still has the power to resonate and inspire.
There is something deeply special about First Time as Nathaniel Hall’s experience of living with HIV breaks through stigma and shame and celebrates the messy, often fucked up ways in which we humans navigate pain and trauma in order to survive and hopefully thrive. Hall is working the room from the moment the audience starts to fill the space, charming and fizzing with bonhomie and wisecracks. He has an uncanny knack for drawing you in as he tidies up the scene of last night’s party and cheerfully glugs gin from a lurid bumbag and sniffs white powder from a dubious plastic sachet. He is setting a scene that celebrates living life on his own terms.
Chris Hoyle directs the performance with a really tender touch which belies some of the brittleness that could easily overtake aspects of this piece. By bringing out the warmth and humour in the writing, he ensures that the story is never mawkish or self pitying. He gives Hall space to be vulnerable and perhaps in this production there are also tinges of darkness that feel more harrowing than in previous stagings. There is a truly chilling moment where the man he is now revisits that first relationship and is confronted by the boy he was then, being bathed by his older lover. In that moment his trauma is not just about getting HIV on his first time but about the distress he experiences as he reevaluates what had previously felt so romantic and now seems something more sinister.
This production ticks so many boxes. It is well-crafted and excellent storytelling which charts a journey from naive teenage boy enjoying a first romance through to the shock and isolation of a HIV diagnosis and finally to the acceptance of a young man educating and advocating for others. It entertains and crucially it also informs around current important information around HIV, PrEP, anti-retrovirals and U=U- Undetectable=Untransmittable. It is also a production for everyone and a powerful reminder that as with any infection risk we all need knowledge to be empowered to make positive choices for ourselves and others. Let’s hope that if First Time ever takes its final curtain call that its because there simply are no new cases of HIV.
As a writer Chris Hoyle consistently delivers sparkling dialogue that has a rich northern tone, a big heart and a genuine social conscience. Tinned Up may have been written ten years ago, but its relevance today has the same power to arrest and perturb. Staged in Oldham where community spirit remains vibrant, this new version is directed by Simon Naylor of 53Two – a much respected local theatre who are currently between homes due to the surge in inner city re-development. Casting is firmly Northern too and is headed up by the wonderful Karen Henthorn who like Naylor was part of the team involved in Chris Hoyle’s highly successful The Newspaper Boy.
The staging by designer David Howell creates an utterly believable cosy home that Shirley has spent 34 years living in. The outside world might be tinned up but inside these four walls is someone’s home where they have lived their life and built forged their memories. This home houses an indomitable spirit that has spent 7 years refusing to give in to the local council and the private developers. Karen Henthorn is fabulous as the gutsy Shirley whose warmth and stubborn resolve ensures that even those who have left Langworthy are pulled back to their old community to support her. Her performance coupled with the wonderful dialogue Hoyle gives his central character can easily stand confidently alongside the best kitchen sink dramas.
There are some great performances playing off the lead with an especially lovely relationship between Shirley and her young neighbour Daz. Keaton Lansley has real chemistry as Daz and balances humour with real emotional depth as a young man nurtured and encouraged by Shirley to strive for better things in his life. The living room scene with Lynn Roden as Beryl where the two middle aged women reminsce as they get pissed on ouzo is rich with bawdy humour and the poignancy of intertwined memories.
There are some wonderful moments in this production and hopefully opening night will have ironed out some timing issues and fluffed lines. The direction also lacks some of the tightness and lightness of touch that Simon Naylor displayed in The Newspaper Boy. There are several points in the first act and most notably in the final scene where the pacing slows down or appears a little unfocused.
The stomach wrenching moment in this piece is when a muddled Shirley runs out unto her street to share news with her neighbours only to be gently caught by Daz. That street and community has long gone and she is alone…They’re all tinned up, every last one of them. The final street party and the inevitable ending reflect the ebb and flow of progress. The mundane flushing of a toilet as a life ends, making way for wet rooms, upside down houses and another generation of communities… for better or worse remains to be seen.
It is 100 years since the end of WW1 from which so many young men never came home or were permanently altered or scarred from their war experiences. A lost generation still mourned today. It is 70 years since the introduction of our beloved NHS which has saved or prolonged so many lives and continues to do so today. It is 30 years today since the very first World AIDS day dedicated to raising awareness around HIV and AIDS and commemorating those who have died from an AIDS related illness. It is one week since I saw The Inheritance Parts 1 and 2 which poignantly honours that whole generation of mentors, friends, family and lovers who died from Aids related illnesses. A lost generation still mourned today.
Last night I saw Nathaniel Hall’s one man show First Time, which tells his story of contracting HIV at barely 17 from his first sexual relationship. A boy teetering on the brink of Adulthood he had a positive first gay relationship but barely months later had a shocking diagnosis that changed his life and must have seemed for him like the party was well and truly over before it ever had a chance to properly begin.
I don’t want to use the term brave to describe this performance but it is difficult not to. This is work that is searingly honest, and while it may feel liberating for the writer/performer to now be able to tell his story, it also makes him incredibly vulnerable. It exposes him as he explores his shock, shame and denial on his slow journey towards accepting his situation and finding his own path to healing. This is a celebration of the human capacity to survive and find hope in the darkest places.
Working with dramaturg and Director ChrisHoyle, Hall has developed his work into a delicately pitched performance that can move from gallows humour and raw despair into whimsical charm and impish wit. Throughout his performance Hall exudes grace andcharm, interacting with the audience with a natural warmth. Even at its darkest moments it feels like Hall is always mindful of his potential audience and ensures the performance never becomes maudlin or slips into being self- pitying.
The staging is effective in the small intimate space, fluidly allowing for scenes on park benches, hospitals appointments, his bedroom or at the school prom. The lighting and sound capture the essence of magical moments such as the slow dance under the mirror ball with an audience member which so neatly encapsulates a life that would never be. Squirty string effectively conjures up the experience of projectile vomiting during illness, while the sinister ticking clock and disembodied fragments of voice-over chillingly convey the puncturing of Hall’s whole world on initial diagnosis.
First Time is also a homage to the NHS and to the wonderful work of The George Trust which has worked so tirelessly to provide support to those living with HIV or with Aids. It is evident how vital this support has been to allow Nathaniel Hall to find his own path to holding no blame and no shame. The scene in which Manchester rain pours down as Hall stands under an illuminated umbrella with the audience all quietly holding tea lights in remembrance of a lost generation is a masterstroke of quiet reflection and genuine shared emotion. Sitting in that theatre last night watching First Time reminded me of the first time I worked the telephone counselling line at Manchester Aidsline over 30 years ago. It was a full house last night, but I can’t help feeling it was also filled many times over by the spirits of all those young men no longer here, who would have also been loudly and proudly applauding Nathaniel.
From start to finish The Newspaper Boy is a real joy to watch. Writer Chris Hoyle has such a natural ear for dialogue and a genuine affection for his characters ensuring they are all warm, earthy and colourful. The look and feel of this production is absolutely 1992 from the iconic television ads to the music of New Order and the clothes by John Richmond and Comme des Garçons. This is a real labour of love and perfectly evokes the joy and the anguish of coming out in the Nineties.
The cast do a great job as an ensemble. Christian is on a high speed trajectory from Moston to Didsbury via the nation’s tv screens and Daniel Maley is great as the naive, awkward boy who may be growing up too fast but is having a brilliant time until the newspapers break the scandal. He has the super confident soap veteran Mandy as his ballsy guide to drugs, clubs and fashion. Hollie-Jay Bowes is totally believable as the sweet ingenue/spoilt brat/faghag who just wants to get wankered and not have another cute guy love her like afucking sister!! The fifteen year old Christian falls in love with the older boy Max who Sam Retford embodies with charm and genuine honour and sweetness.
Director Simon Naylor directs the sex scenes with genuine tenderness . This is a coming of age in a really special and joyful way that is later brutalized and cheapened by an ignorant media obsessed with the moral high ground and the desire to sell newspapers. When Christian says I’m proud of us it is said with a naivety about the personal, social and possible legal repercussions. Regardless of this Chris Hoyle has written young love in a joyous way that anyone could be proud off.
The older cast members bring additional depth to this story and of course were young people in the Nineties so can draw on their experiences. Eve Steele gives a chilly television executive in Burberry and heels but blisters with her genius take on a Manc drug dealer on the club scene. Samantha Siddall as Christian’s Mum is perfectly cast as the proud parent basking in the glory of a famous child while still worrying for his well-being. Karen Henthorn is just brilliant as the feisty, chain smoking Gran who adores Christian. Her performance shifts from impish to red eyed and broken, with the stuffing knocked out of her as the scandal unfolds.
The staging works really well and built over several levels allows for creative space to move the action on stage across a range of settings. The family home in Moston to soap star Mandy’s place in Didsbury via Flesh night at The Haçienda and the Granada studio offices and the set for famous soap Mancroft Walk. The energy ramps up a gear as a throng of tv crew thrust through the audience to film another scene on set. The audience are watching this unfold on stage while overhead monitors play out the filmed scene. A large tv screen above Christian’s bed shows scenes from the soap as the family watch Christian and Mandy on scene as the young lovers. Interspersed with iconic Nineties ads for Gold Blend and Milky Way the feeling of slipping back 25 years becomes stronger and stronger. It is a clever and impressive use of this small, bustling theatre. 53Two is quickly becoming a hugely exciting space to see theatre in Manchester.
Based on some of Hoyle’s personal experience as a child actor on Coronation Street, this play highlights the hypocrisy of television programming that storylines teenage pregnancy by a teacher but baulks at teenage gay sex with another young man. Staged as part of Queer Contact 2018 this is a funny and poignant take on an important subject.