The plot of the show follows Dylan and Eddie as they grow through their relationship and examines an often overlooked side of homosexuality – the expectation to be constantly promiscuous and sexualised, and how this can limit the chances of having a “normal”, monogamous relationship.

Hallam Breen and Phoebe Simmonds provide the foundations with an excellent piece of new writing. At times it is incredibly touching, particularly in scenes with Eddie, whose performance excels in its ability to touch the audience through its vulnerability. Dylan’s harder edge, playing across from Eddie, provides a perfect foil to this vulnerability and draws out the differing attitudes of both characters towards where they are in life, and what a relationship should mean to them.

The wit of the script is also wholly remarkable. Relatable and cutting, it is at its best during scenes involving Eddie’s sister, whose comic timing is fantastic. The comedy does not detract from the seriousness of the themes either, rather it serves to highlight issues and elements introduced in more serious moments within the play.

Sexuality is always difficult to write about without sounding insulting or pandering, but this play manages it quite expertly – a great credit to the young playwrights. The issues which exist with and around the play are approached sensibly and with maturity, meaning that the important message which the play carries is not cheapened or overstated, merely presented to the audience to make their own judgment. This is perhaps not surprising following Limerence’s 2017 Fringe sell-out show, Ginger Beer.

Marmite is incredibly enjoyable and moves at a fast pace and leaves a clear impression on all those who see it. Its message is not one to be missed by those interested in sexuality and how stereotypes can harm even in ways we do not expect.

Marmite is in the Attic in Gilded Balloon Rose Theatre until the 26th August at 15:30

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Max Prentice

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