Sex sells. It’s an age old promise that’s been taken to
heart in the promotional material for Gods and Monsters that has
centered on the impossibly muscular physique of actor Will Austin. If the sight
of some man flesh is enough to get you in the theatre then so be it, but any
hopes this play may offer some gothic horror in the vein of its subject are
quickly dissipated.
Stripped back, this is an interesting portrayal of a very
troubled man. Based on the 1998 film of the same name (starring Ian McKellen)
and set in the 1950s, it focuses on the later life of James Whale, director of
the 1931 horror film Frankenstein. Yet where the film includes scenes of
the man at work on set, this play takes place solely in his home, minimising
any links to his work. Instead, it explores his inner-conflict with his
homosexuality and the trauma of serving in WWI. Sexual thoughts result in a
strange psychosis and inexplicable
headaches as he reminisces on the past. This is shown through some tender
flashbacks performed with wonderful conviction by Joey Phillips and Will
Rastall that add depth to the drama, breaking up what is otherwise a lot of
long, drawn out exposition.
Yet the storytelling is hidden under layers of nudity,
homoeroticism and cliché. Suffering from his illness, Whale is mostly bound to
his study where he leers at the young buff gardener outside before inviting him
in to act as his life-drawing muse – it’s an incredibly hackneyed plotline.
Austin, as gardener Clayton Boone, is a wooden structure of
masculinity who parades around the stage as if competing in a body building
contest. Ian Gelder’s Whale, meanwhile, is a randy old man who speaks only in
eye-rolling sexual innuendo, refusing to answer a young male student’s
questions unless he takes off his clothes, and forever asking Boone to take his
shirt off ‘for his art’. Yet there seems to be little artistic value in the
amount of nudity in the show, it’s just awkward to watch. Gelder is unable to
bring warmth to the role and Whale's relationship with Boone never develops. He is literally a monstrosity of homosexuality
with few likeable factors to redeem the character.
This is somewhat the point. In a subtle parallel to the Frankenstein
story, Boone is not quite the hard-edged man we expect from his physique;
likewise Whale is far from a helpless old man, he is an evil and masterful
manipulator and sexual predator. And is there any wonder this is the case when
homosexuality was illegal at the time, gay men privately trapped in the closet?
Equally is this not an antiquated, grim stereotype that need not be
perpetuated?
Lachele Carl does at least bring some humour to her role as
Whale’s housekeeper and Jason Denvir’s set design is well constructed, though
it feels too spacious and lacks intimacy. Yet if Gods and Monsters is
meant to be an in-depth assessment of the gay male gaze, it just comes off as
shallow and sleazy.
2/5
Watch: Gods and Monsters runs at the Southwark
Playhouse until 7th March.
