Two teenage boys bump into each other in a school corridor; then, as you do, they immediately indulge in mutual masturbation. With Boyography, writer / director Nick Maynard gives the impression of being unafraid to stage graphic sex scenes, but also giving priority to communicating his viewpoints over developing the drama.
Boyography is staged in a series of short scenes, the changes between which are indicated by some fine pastel images projected onto the rear of the stage. However, initially, the characters share the same opinions to such an extent they become an articulation of Maynard’s philosophy rather than people caught in a dramatic situation. A lot of information is conveyed quickly, with references to traditions such as boys in ancient Greece allowing themselves to be admired and to tribes where boys undertake rites of passage.
The gist (I think) is that physical sexual encounters can be purely pleasurable and need not be taken as a definition of sexual identity. Just because the boys in the play have sex with each other does not mean they are homosexuals. Indeed, it is possible to have physical same-sex and maintain an emotional relationship with a girl at the same time (both characters have girlfriends). This sounds remarkably like having your cake and eating it; one wonders what the girls would say if their opinions were sought.
Gradually, a more conventional dramatic structure develops, and a degree of conflict emerges between the characters who are also, eventually, named. Oliver (Isaac Radmore) dictates the terms of the relationship and takes a defensive, even aggressive attitude to sex being the party who screws rather than gets screwed. Jake (George Bellamy) is more open to an emotional relationship and seems ambiguous as to his sexual preference.
The actors cope well with lengthy speeches and occasionally clunky dialogue ("It can’t end like this!"). They manage to draw out some distinction between the characters despite them having very similar viewpoints. For all his bluster, Isaac Radmore gives the impression Oliver is permanently on-edge as if worried the physical relationship might be uncovered. George Bellamy’s Jake is not as tightly wound and is more open-minded and curious about his sexuality.
But author Maynard does not give the cast much upon which to build their characters. Oliver proclaims he has most to lose if the relationship becomes public, but we do not know if this is because of his race, religion, social class or family.
The communication of a range of challenging concepts makes for a thoughtful but unwieldy play and reduces the extent to which Boyography is dramatically satisfying.
Boyography returns to The Social Refuge, Manchester on 26 July 2024.