JADAR

★★★★☆

At Manchester’s Hallé St Peters, Dante or Die’s latest production, Kiss, Marry, Kill, brought a provocative and challenging story to the fore. The theatre company’s signature site-specific approach anchored the narrative in a setting that was rather ironic: a church—a place synonymous with weddings and traditional religious values—became the backdrop for a play dealing with taboo topics like homophobia, gay marriage, and prison life. This bold choice enhanced the production’s emotional impact, highlighting contradictions inherent in society’s treatment of LGBTQ+ individuals.

Written by Terry O’Donovan alongside the Co Artistic Directors and Joint CEOs of Dante or Die, Daphna Attias and James Baldwin, Kiss Marry Kill has dramaturgy by Lisa Golman, music by Yaniv Fridel, and lyrics by Lady Lykez.

Kiss, Marry, Kill wove fiction into reality by drawing inspiration from the story of the first same-sex couple to marry in a UK prison. With meticulous research evident in the dialogues and character arcs, the creative team met criminologist Dr. Nicola Carr to gain insight into LGBTQ+ life in prisons. Their dedication to accuracy and authenticity was commendable, particularly in their collaboration with Synergy Theatre, which recruited nine ex-prisoners for a 10-week Approaches to Theatre Making course. This immersion lent a stark realism to the narrative.

The plot unfolds around Jay, played by Dauda Ladejoni, a self-loathing man who murdered a gay person out of fear of being outed before a sexual interaction. Sentenced to life imprisonment with a minimum of 15 years, Jay struggles with his own sexuality while grappling with guilt and remorse. In prison, he meets Paul (Graham Mackay-Bruce), who helps Jay accept his identity, leading to their marriage, despite the inevitability of being separated into different prisons.

Though the ensemble cast was generally strong, with standout performances from Mackay-Bruce and Ladejoni, the production occasionally felt like a drama school recital. At times, the actors appeared to be acting rather than fully inhabiting their characters, which detracted from the intended immersion. Despite this, the passion and commitment of the performers shone through, and their nuanced portrayal of complex emotions ensured that the play remained compelling throughout its intense two-hour runtime.

A significant achievement of the production lay in the writing’s meticulous attention to detail and the multifaceted nature of the story. Golman masterfully intertwined themes of love, fear, and identity with the gritty realities of incarceration, making the play feel raw and real. Fridel’s compositions and Lady Lykez’s lyrics added layers of emotional texture, drawing the audience deeper into the turbulent inner worlds of the characters.

Another triumph was the clever use of space within Hallé St Peters. The intimate venue enhanced the sense of confinement inherent in the story while also drawing attention to societal norms and expectations regarding love and sexuality. The decision to stage a gay-wedding-themed play in a church, depicting a homophobic priest in a negative light, made a bold statement about the institution’s often conflicting stance on LGBTQ+ issues.

However, the play’s portrayal of sexuality, particularly the depiction of gay sex and sexual assault, likely makes some viewers uncomfortable. This discomfort is intentional, forcing the audience to confront the brutal reality faced by LGBTQ+ individuals in prison and beyond. The production references Galop’s 2021 Hate Crime Report, which found that two-thirds of LGBTQ+ people had experienced hate crimes. By presenting these harsh truths through theatre, Kiss, Marry, Kill served as both a mirror and a wake-up call.

Despite the weight of its themes, the play leaves room for hope. Jay and Paul’s love story represents resilience and defiance in the face of hatred and discrimination. The ensemble cast—Morgan Archer, Lady Lykez, Frank Skuly, and Dean Statham—delivered commendable performances, rounding out the emotional spectrum with sensitivity and conviction.

Kiss, Marry, Kill offers a compelling exploration of the intersection between love and hatred within the claustrophobic confines of a homophobic world. Though the acting occasionally faltered in its authenticity, the production remained a powerful and thought-provoking experience that challenged its audience to rethink preconceived notions of identity, acceptance, and (in)justice. Dante or Die brought an impactful experience to the stage, sparking meaningful conversations.

Kiss Marry Kill runs at Hallé St Peters, Manchester until May 12 and tours the UK until May 19.

Check out of our interview with Daphna Attias and Terry O’Donovan, the Co-Artistic Directors and Joint CEOs Dante or Die.

Photo: Greta Zabulyte