After the Act
After premiering at the New Diorama Theatre in 2023 and touring the UK, Breach Theatre's verbatim musical about Section 28 – the heinous legislation introduced in the late '80s to prevent the 'promotion' of homosexuality in schools – lands at the Royal Court Theatre after some tweaking and with a mostly different four-strong ensemble cast. It's funnier, sharper and more damning than ever before.
Co-writers Ellice Stevens and Billy Barrett have shaped the testimony of teachers, activists and students into songs drawing on the stylings of New Wave and electronica. The production starts with the recollections of the lesbians who famously ambushed Sue Lawley during a live news broadcast in protest at Section 28. The wryly hysterical re-enactment of this event, hitting a bigotry-skewering cartoon level of energy, is the strength of Barrett's staging, which leans even more into this now.
The first half of the production goes big to puncture the poisonous balloon parade of politicians, pundits and homophobic media outlets who created Section 28 by cynically whipping up panic over children's book Jenny Lives with Eric and Martin and misinformation about HIV/AIDS. There's even a show-stopping re-enactment of the moment when enterprising protestors abseiled into the House of Lords during the legislation's reading.
Stevens (also performing as part of the ensemble) has a ball as a lasciviously awful Maggie Thatcher after the interval. But where strengthening the bombast of the first half pays off is in accentuating the contrast with the devastating testimonies of teenagers and teachers whose lives were – in some cases – permanently harmed by the aftermath of Section 28. The quiet anguish feels that much louder after all the clowning noise.
The ensemble is great at matching their performances to the varying proportions of the script, helped by the deft music direction of Frew and the production's on-stage band. They may wink at the audience, but it's a knowingness fuelled by an intrinsic sense of the injustice of Section 28. And the show drops its satirical smile to powerfully address the similar discrimination faced by trans people now.
The second half still has the issue – after the first half so comprehensively explains why Section 28 came into being – of only fuzzily hand-waving at why the law was ultimately repealed. However, what it lacks in exposition, it makes up for by recreating the joyful defiance of Manchester Pride and the fierce love of community.
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'She had assumed I could simply add new material to the existing book, and publish an updated edition. I explained that publishing doesn't work like that. 'She was not at all keen to begin with on me writing a new book – her concern all along has been privacy, which is of utmost importance to her. 'I spent weeks trying to guess her identity, and eventually worked it out. She admitted to it only when I put it to her. We agreed to work together, and I went to Montreux to meet her.' '"B" brought the diaries along to the meeting, and also other effects, such as photos, cards, notes and bank statements – to act as proof that she was who she claimed to be.' In another letter included in the book, 'B' explains her reasons for sharing Freddie's journals after 30 years, saying: 'Those who have been aware of my existence kept his greatest secret out of loyalty to Freddie. 'That I choose to reveal myself in my own midlife is my decision and mine alone. I have not, at any point, been coerced into doing this. 'He entrusted his collection of private notebooks to me, his only child and his next of kin, the written record of his private thoughts, memories and feelings about everything he had experienced. 'His gift to me was our secret. Although those who lived with him and shared his life knew of the existence of the notebooks, none of them knew, after his death, what had become of them. 'His family, fellow band members, closest friends, associates and management have had no idea until now that he gave them to me as a present.' 'Mary Austin – the wonderful woman who was to all intents and purposes his wife until death parted them – knew absolutely everything about him, including all his undisclosed secrets. 'Everyone else . . . they knew only what Freddie wanted them to know. Which wasn't much. Freddie was an intensely private man. He gave so few interviews that he was famous for it. 'I had read everything that Lesley-Ann Jones had ever written about my father when I wrote to her towards the end of 2021, with the intention of offering her the responsibility of sharing his true story. 'I had been meaning to contact her for years, having read so much of her work: not only about Freddie, but also about other artists. 'I was struck by her obvious pursuit of the truth, and by how closely she came to capturing 'the real Freddie'. 'Her book portrayed him more accurately than anything I had ever read. So much of what has been written and committed to film about him by so-called friends, lovers, employees and colleagues has been at best a gross distortion of the truth, at worst an exercise in exploitation. 'I revealed to her who my father was. I told her the truth about his childhood, his life, and everything that built the infant, the boy, the teenager, the young man, the grown man, the dad he was to me, the stage persona and the Mercury mask that he created. 'I explained to her how he compartmentalised his life, and of course talked at length about our precious time together. 'The life I live with my husband and our family in another country is intensely private. We want things to stay that way. 'We cherish our peaceful and anonymous life, and we want nothing to disturb it. Nobody needs to know who I am. 'I will have nothing more to say beyond what I have revealed in this book. There will be no further interviews other than those that I have given to Lesley-Ann. 'I owe it to my father to cherish privacy as one of the most precious privileges in life. 'As he himself said, it was the thing he regretted giving away so readily. The one thing he wished that he could get back.' Love, Freddie by Lesley-Ann Jones is available to pre-order here.
