After the popular success of Gindr the Opera, if this season at Above the Stag were to continue its momentum then their latest production of E M Forster’s Maurice needed to deliver on all fronts. The classic queer novel has recently re-emerged into the public consciousness, making waves after the release of a re-mastered version of the cinematic adaptation from the late-eighties. This production placed Maurice back into the hands of James Wilby who had advanced from actor to director, thirty years after he portrayed the titular role. It is safe to say that familiar hands made the familiar bildungsroman a delight to behold.
Maurice is of course Forster’s posthumously published novel composed in 1914 recalling the romantic life of Maurice Hall from his school days, through his days at Cambridge, to his adult life. Central is Maurice’s budding relationship with Clive Durham, who he meets at university and who introduces him to Greek writings on gay sex. The ill-fated relationship leaves Clive conforming to societal demands, whilst Maurice casts aside his security in the name of being true to himself. Summating the entirety of a life is not a feat easily achieved, but this production did so with plausible ease. Set against the carved ornate stone façade of a Cambridge college, the world created in this production was one potent with a strong nostalgia and a romanticism that was palpable, complete with swelling strings and soft pink light.
As the titular Maurice, Tom Joyner brought a reserved and stifled solemnity to the role, becoming increasingly expressive as he became romantically liberated. His Cilve, Max Keeble, brought a severe excitement to their dynamic, who followed a counter-trajectory in becoming increasingly mannered. Their interplay could have seemed more organic, yet the developed kinship was one that rung true. Stealing the second act and a breath of fresh air was Lily Knight as Clive’s ditsy, featherbrained wife bringing a playful energy that would have most of us deserting our homosexuality to marry her. This production foregrounded the ever-topical issue of conversion therapy, bringing Maurice’s own sessions of hypo-therapy to the forefront, gesturing at the absurdity of the practice, and its inextricable failure.
The success of this production did not lie in any attempt to make new of the old story, since that would have made the familiar story alien to it’s audience, there were no great risks taken with this production. Its success lies in its ability to re-generated that early 20th century nostalgia that us queer people are so rarely privy to. It inspired a romanticism of a past queer era that was hopeful and up-beat. Leaving your cushioned seat under those Vauxhall arches you stay in that world of quixotic romantic fancy, and even days later it’s hard to shake Maurice’s chimerical reverie.
☆ ☆ ☆ ☆
by Ifan Llewelyn
To find out more about the production, and to buy your tickets CLICK HERE.
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