It’s not just people in their teens and twenties that are coming to terms with their true sexual identity. It’s not clear quite how old Charlie (James McGregor) is, nor does it ultimately matter, though he’s been around long enough to have built up a career, such that his employer had tried to support him through a divorce, but in the end his performance at work wasn’t meeting the required standards, so he was called into a meeting with his boss and “Judith from HR”. Afterwards, there’s a group chat Charlie reaches out to – a blokey invitation to the pub without any further context. The only one to reply is Oliver, who Charlie met at a stag do some years ago but hadn’t seen since. One thing leads to another, and Charlie finds himself doing something he’s not done before.
Like many one-person plays, there are various characters that are brought to life very well by way of differentiation of voice and mannerisms. Charlie is on the receiving end of a lot of advice from various quarters, some of which is useful, some of it not so much, and some of it nonsensical. But isn’t life like that? The comedy in this play is drawn from believable and convincing everyday situations instead of unlikely scenarios exaggerated for comic effect.
There’s a level of vulnerability to Charlie that gradually peels away as the play progresses – but only to an extent. In a late scene he rings a helpline but cannot bring himself to talk completely openly about whatever it is that’s on his mind. By extension it effectively means he’s not telling the audience everything that’s on his mind either, which only amplified my hunch that the story would have benefited by having Oliver as an on-stage character, allowing the audience to see and hear a second perspective on what went on. It’s difficult not to feel at least some sympathy for Charlie – he’s done his best, and is still trying to do his best, and he tackles life’s unexpected challenges with a mixture of trepidation and stoicism. An intriguing portrait of someone who seems to have it all together – proof that we don’t always know what’s really going on in the lives of people we encounter.
Review by Chris Omaweng
Charlie played by the rules, married the right woman, took the right job. His marriage and life have unravelled and he’s starting his life again, unexpectedly falling for a man for the first time. A study of divorce, fertility problems and heartache counterbalanced by the joys of later in life sexual and personal awakening. Join Charlie as he heals, rejects the pressures of society and embraces sexual fluidity. Finding joy, love and connection in surprising places.
Director – Scott Le Crass (he/him)
Writer – Stephanie Martin (she/her)
Performer – James McGregor (he/him)
Associate Director – Craig Legg (he/they)
Sound Designer – Joel Moffett (he/him)
Producer – David Shopland for Fake Escape (he/him)
DID YOU MEAN TO FALL LIKE THAT?
Pleasance Courtyard at the Edinburgh Fringe
31 July to 26 August 2024
Book Tickets for Edinburgh Playhouse and the King’s Theatre Glasgow.
