These 70-minute, two-handed plays, by Paul Bradshaw, make up an interesting double-bill at Park90.
The first, tell me straight, has been seen previously at the King’s Head Theatre and Chiswick Playhouse. The plot concerns ‘Him’, whose long line of ‘hook-ups’ has one thing in common: they are all straight. It seems impossible to find a gay man who actually likes gay men!. So, he decides to give up booze, fast food and… men for a month. Unfortunately, “wide-eyed Lee, fuck boy Ryan and oldest friend Matt” are not singing from the same hymn sheet and do everything to distract him.
Whereas the playwright himself adopts the role of ‘Him’, the other three, plus a pupil, are superbly played by Buck Braithwaite, who manages to differentiate each role completely, whilst being relaxed and totally in control, whilst at the same time being very watchable. Physically, he switches from one role to another with ease, almost convincing us that the writing is better than it is.
Jade Anouka is also listed in the programme, but in fact only does pre-recorded voiceovers, which seem to add little to the play itself, especially as the bass-heavy recording/playback makes hearing what she is saying a challenge at times.
We are told in a flyer that tell me straight is a “fast-paced, semi-autobiographical, coming-of-adulthood play that’s a glorious, witty and provocative exploration“. I found it amusing, not particularly fast-paced or provocatively directed (by Imogen Frances), but, for a first play, surprisingly successful.
However, the second play in the double bill, aggy, is very fast-paced and, at times, very witty. Not being particularly bright, I needed help from AI to discover the meaning of the title! CoPilot’s suggestions included someone who is irritable, aggressive, or always ‘wound up’ and confrontational, a ‘pressure-cooker environment’, and perhaps aggy is an exceedingly good title, therefore, as it describes this play well!
Lawrence and Mahlik have been together for a year, and now that the lease on Mahlik’s flat is up, he moves into Lawrence’s apartment, which also seems to double as an artist’s studio. Lawrence is annoyed that, being a middle-class white male, commissions never come to him because of who he is, whereas if he were ‘different’ in some way, he would get offered much more work. So, on an off-the-cuff suggestion from Mahlik, he changes who he is – I will not say how! The play attempts to explore gender and race, as well as “how people police one another, and how this can lead to destruction“. Bradshaw tries to do too much in a 70-minute play – there are so many ideas flying around, none of which are given enough time to be dealt with thoroughly – but already one can see that this is an advance on tell me straight. Again, he is fortunate in having two excellent actors who make the most and more from what they are given.
Matthew Jordan as Lawrence, the budding professional artist, is suitably petulant and irritable: a very believable portrayal. Jean-Luke Worrell is superb as partner Mahlik, always trying to be very supportive. If we empathise with anyone, it is him, as he exudes patience and tolerance in his confrontations with Lawrence. His facial expressions are subtle but always perfect: we can often tell just what he is thinking, and the two actors work perfectly together.
Direction of aggy is by the playwright, Paul Bradshaw, and, again, Imogen Frances, and is far too fussy. Rather than letting the play speak for itself, which it is more than good enough to do, they insist on having videos (Matt Powell) playing much of the time, complete with sound and subtitled dialogue, which totally takes the focus away from the play itself. A drag artist ‘Climax’ played by Jack Gittins as Rex, is used in these videos, which, to be frank, add nothing whatsoever to the play and actually prevent us from concentrating on and enjoying the acting of the two protagonists, as well as preventing us from getting truly involved in their troubled relationship. A case of more is actually less – as if the directors do not trust the play itself to work, which it would, if it were allowed!
Damien Stanston has designed an attractive set for aggy, which is also used for tell me straight, and effective lighting is by Cheng Keng. The directors are asking for some very rapid and rarely essential lighting changes at times.
I should love to see aggy again, even though the “F” word is used far too much and becomes tedious, performed by two actors of the calibre of Matthew Jordan and Jean-Luke Worrell, as long as all potential directors were sent on a SAGA cruise during rehearsals! Their acting is very impressive.
Review by John Groves
tell me straight is a fast paced, semi-autobiographical, coming-of-adulthood play that’s a glorious, witty, and provocative exploration of what it means to navigate and embrace our sexuality.
aggy is a bold one-act play exploring privilege, gender, race and creativity. It’s about art and who gets to make it. The play unflinchingly examines how people freely police one another, and how this can lead to destruction.
tell me straight Cast
Paul Bradshaw – Him
Buck Braithwaite – Matt/Ryan/Lee/Pupil
Jade Anouka (voice) – Dani
aggy Cast
Matthew Jordan – Lawrence
Jean-Luke Worrell – Mahlik
Jack Gittins – Rex
Paul Bradshaw – Writer and Co-Director
Imogen Frances – Co-Director
Cheng Keng – Lighting Designer
Eamonn O’Dwyer – Sound Designer
Matt Powell – Audio Visual Designer
Damien Stanton – Set and Costume Designer
Georgie Rankcom – Dramaturg
Alice O’Hanlon – Movement Director
tell me straight / aggy
Presented as a double bill
Park Theatre
7 to 28 March 2026
