A familiar face digs up some deeply buried truths at the Union Theatre in Natalie Ekberg’s eventful relationship drama.
Him centres around Charlie and his partner Osmond, who live a peaceful life with their son until old friend Jane shows up to their small village home, bringing scandalous secrets from the past with her. Ekberg and director Simon Fielding deliver a solid exploration of desire, ageing, love, and sacrifice that proves to be an earnest and heartfelt experience, albeit without doing much to astound.
There’s much to like about Ekberg’s script. The writer portrays complex characters with real problems, approaching middle age and struggling with the consequences of their life choices and the expectations put upon them. Jane and Charlie’s story is particularly strong, with much interesting drama being mined from the blurred lines in the pair’s friendship. The production also bounces back and forth from past to present, and while this provides some needed context and deeper characterisation, it can sometimes lead to the proceedings feeling slightly convoluted.
Each of the players deliver strong performances, with the ensemble seeming to feed off each other’s energy. Gary Tushaw gives a nuanced performance as Osmond, at first appearing hostile and antagonistic, until we get a peek into his more tender side and see the source of his grievances. Hannah Chalmers takes no prisoners as Jane, portraying a character worn down by the sacrifices she’s made, saddened by what she has lost, and determined to claim what she feels she’s owed. Perhaps the most interesting performance is Niall Sheehy’s turn as Charlie. Sheehy frontloads his performance with an energy, an innocence, and an affability that belies a more selfish and impulsive undercurrent. One of the few points of unpredictability within Him comes from how Sheehy maintains his character’s eagerness to please while simultaneously trying to navigate the web of lies that each character has woven. Alan P. Jones gives a good turn as Kit, a young man constantly underestimated while searching for answers; meanwhile, Julie Wood’s Nana serves as the beating heart of the piece, conveying love, fierce protection, and wisdom to the audience.
Although Him isn’t the most flashy or dynamic show, it still maintains a distinctly human and grounded core. There are plenty of twists and turns, some landing much better than others, but ultimately what truly captivates the Union Theatre audience is the complexity and the honesty at the heart of a show that is unafraid to show that mess can find us all, regardless of age or intention.
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