Review: EXHIBITIONISTS, King's Head Theatre

Exhibitionists is, regrettably, not a good play. That’s not to say, however, that it isn’t occasionally a lot of fun. Teetering on the edge of pure camp and exaggerated satire, this bewildering new comedy puts a gay and non-monogamous spin on the classic farce, as fiery exes come face to face at an art gallery.

The play begins with a simple premise: two gay couples arrive at their friend’s art exhibition in San Francisco. It soon becomes clear, however, that tumultuous ex-lovers Conor (Ashley D Gayle) and Robbie (Robert Rees) have unfinished business. As the spark reignites, their current partners, anxious Mal (Jake Mitchell-Jones) and recently-out Rayyan (Rolando Montecalvo) find themselves driving across the state as unlikely allies. 

Writers Shaun McKenna and Andrew Van Sickle explain in the programme that they set out to create a ‘gay comedy of manners’, inspired by the likes of 1930s screwball comedies and the works of Ayckbourn and Rattigan. These influences are certainly noticeable - the play descends into a kind of slapstick romp, with exaggerated punchlines and a theatrical brawl. They also mean, however, that Exhibitionists develops a bizarre, anachronistic tone that leaves it hard to get to grips with.

Throughout the play, the dialogue and acting style come across as severely misjudged - the two couples are having serious conversations about marriage and monogamy, but with pantomime gestures and melodramatic exclamations. As the plot progresses, the melodrama begins to overwhelm everything else, as the performances get steadily more unhinged and the story gets steadily less believable. The more serious moments are where the show is at its very weakest: attempts to tackle alcoholism and abusive relationships are pretty much played for laughs, in a way that leaves a sour taste. 

The biggest problem Exhibitionists faces is that it walks the line between taking itself seriously and indulging in its camp melodrama. The show is so unbelievable that it almost works as satire, but never quite gives way to the genre. What we are left with is an awkward comedy where it’s hard to tell exactly how much is deliberately funny, and how much is funny in spite of itself.

Another bewildering aspect of Exhibitionists is the choice to make its characters rich Californians. The cast’s accents are stilted, further adding to the feeling of over-acting and pantomime. On top of this, the setting means the play struggles to hit its target audience: with characters that exist in a world very alien to the standard London theatregoer, there’s little to relate to. It’s a real shame: you would hope that a modern comedy about gay dating and non-monogamy would be packed with familiar cultural references and relatable scenarios. This lack of detail also means the characters can fall on the wrong side of cliché, embodying some of the more harmful stereotypes of gay men.

While it seems like Exhibitionists would do best as a full-on farce, there are moments where it tries to be a considered exploration of public image, social media, and what it is to be an exhibitionist. Matt Powell’s video design combines a videography art exhibition with live-recorded phone clips, raising questions about how we portray ourselves and what we consider art. It’s a fun idea, but feels entirely separate to the awkward comedy taking place around it. 

Director Bronagh Lagan (Cruise, Flowers for Mrs Harris) and designer Gregor Donnelly do their best to salvage something through movement and stagecraft. The many doorways around the stage and the fast-paced blocking allow for some funny moments of missed meetings or accidental collisions, and some of the visual gags do land.

Exhibitionists is the first ever play to run in the King’s Head’s brand new venue, an underground end-on space with an industrial feel reminscent of the Turbine Theatre. Their previous building became the UK’s oldest pub theatre, a real gem of the London theatre scene and a starting point for so many successful actors, directors, and companies. It’s easy to see why on paper Exhibitionists seemed like the right show to mark this transition - what it sets out to do is put a modern gay spin on a classic theatre format, exactly in tune with the mission of the King’s Head. Unfortunately, while the venue has succeeded at this for years, this particular play dulls the sparkle of the new opening. 

Nonetheless, the King’s Head’s new space will be a welcome addition to Islington, with its larger main theatre, bonus cabaret space, and two bars giving it the potential to become a real theatremakers’ hub. I look forward to seeing many more productions there in the years to come. 

Exhibitionists runs at the new King's Head's until 10 February

Image Credit: Geraint Lewis

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