Plymouth Theatre Review

Easy to Follow: 5

Family Friendly: 3

Must see: 4

Title: ‘Section 28 & Me’ 

Venue: Barbican Theatre

Date: 21st June 2024

‘Section 28 & Me’ Written and performed by Tom Marshman is a poignant and powerful one man show that delves into the harrowing impact of Section 28 on the LGBT community. This law, which prohibited “The promotion of homosexuality” by local authorities and schools in the U.K from 1988 to 2003, left a lasting scar on the LGBT community and this performance brings that legacy to the forefront with unforgiving honesty in an inspiring and boundlessly comical performance that weaves personal anecdote with lived experiences of the queer community. 

The shows narrative is deeply personal, interweaving the performers own experience with the broader social and political ramifications of Section 28. Through an expertly balanced mix of storytelling, monologues and multi media elements, the audience is taken on a journey through the fear, isolation and internalised shame that many LGBT individuals endured during this period. The introduction to the show (and the narration throughout) is provided by Tom’s Dad, adding an additional layer of depth and intimacy to the performance. This infuses the show with a deeply personal touch, transforming it from a solo act into a heartfelt dialogue between the generations. The narrator brings a fresh perspective, highlighting the intergenerational impact of Section 28 and illustrating how the legislation not only effected the artist but those closest to him as well. This adds an emotional richness to the performance with the narration adding a mixture of pride, concern, confusion and love into the mix, mirroring the complex reactions many families had to the legislation throughout the era. The narration also serves as a bridge, connecting the audience to the artists childhood (“He’s always been a bit theatrical”) and their formative years as an member of the queer community.

The narrative and spoken word  serve to highlight key issues felt at the time and pose questions to the audience about how section 28 changed the landscape for people living through it. Raising questions such as “How has this affected your character?” and “How can we understand who we are?” Tom expertly navigates and explores the impact of this law on the way LGBT see themselves and how the public see LGBT people as well. “If you don’t have a name for it, how can you be it or see it?” Was a question that hit home particularly hard for me. As someone who was a young teen when section 28 was repealed, I feel I have always had words to describe who I am in relation to my sexuality. Words that we all take for granted today, and use freely within society, were somewhat taboo and unspoken in the not so distant past and that was a really interesting notion to ponder, leaving me with a sense sadness that just the generation before me were not afforded the same language and means to express themselves in the way that we often take for granted now.

The performance doesn’t shy away from the brutal realties faced by queer people under this law and finds strength in its ability to covey the deep psychological wounds that linger long after the repeal of the law in 2003. The powerful narrative is further enhanced by the performers compelling and welcoming stage presence. Their ability to shift seamlessly between moments of vulnerability and resilience underscores the complexity of the queer experience during this time. The expert mix of humour, balanced perfectly with the harder hitting issues, made this show uplifting and light instilling a sense of hope within the audience. The emotional depth conveyed through each scene makes the spectator acutely aware of the personal cost of institutionalised homophobia.  It is a call to remember to and honour those who lived and struggled through this legislation, and is a powerful testament to the resilience of the LGBT community.

The set design and ambiance of the piece is fun, artistic and a brilliant way to document the show as it mirrors the process of documenting history itself and underscores the importance of preserving memories, particularly those that recount struggles and resilience. It transforms the stage into a place where personal and collected history are examined, recorded and shared.

The stage is set like a photography studio, complete with camera and white backdrop where much of the multimedia aspects of the show play out. Throughout the performance (at specific moments) a flash of light occurs to represent the taking of a picture, this usually occurs when the artist has just changed costume or got into a specific pose relating to the topic being discussed. I loved this element of the show, and really hope this is a real camera taking real pictures of Tom as this would be a fantastic way to document the show for years to come! The intermittent burst of light mirrors the fragmented nature of recollection and remembrance and represented signifiant moments in the artist’s life as well as key moments in the piece itself, aligning with the idea of piecing together history through individual memories. Another notable feature of the set is an old style boom box, an audience member is invited to step onto the stage and press play at the start of the show signally the performance to start. This interactive element persists throughout with the audience being asked to hold on to bunting and catch sweets thrown at them by Tom. These participatory acts engage the audience and make them active participants in the narrative and storytelling process. The white backdrop serves as a projection screen for multi media elements such as the video clips and sound bites, offering other peoples perspectives and lived experience of what it was like growing up under section 28. The seamless integration of these moments creates a rich and layered experience where the audience can see and feel the impact of section 28 through spoken word and visual aids. Other props from Tom’s previous shows are also employed throughout the show, and although I have never seen a show by Tom before, it lent a certain amount of nostalgia to the piece and added to the themes of history and remembrance.

‘Section 28 and Me’ is an essential piece of theatre that shines a light on a dark chapter of LGBT history in the U.K. It is honest, stark, powerful and humorously playful in its exploration and is a vital act of remembrance and resistance. The masterful blend of personal narrative and historical documentation is brought to life through the innovative set and compelling storytelling that not only commemorates the enduring impact of Section 28 but also serves as poignant reminder of the resilience and strength required to overcome such adversity. ‘Section 28 and Me’ leaves an indelible mark on the audience with its cheeky balance of the heavier themes with comical narrative and storytelling devises, ensuring the stories of those affected by the discriminatory law are not forgotten, but instead, remembered and honoured. It is a stark and harrowing reminder of what the queer community has had to endure to get to where we are today. All young LGBT should see this show as an education of the struggles of those who came before them and a reminder of how easily discriminatory laws can affect the lives of the queer community. ‘Section 28 & me’ is more than just a show about queer people, is a warm embrace and clear to call to action to hold our government accountable for the wrongs of the past while striving to ensure this can never happen again.