Callings by Kabosh Theatre, written by Dominic Montague, Directed by Paula McFetridge, mac Birmingham, 10 & 11 Oct, then on tour.

3✩✩✩. Review: Dan Auluk.

“Thought provoking, intimate and full of hope.”

Kabosh Theatre, the Belfast-based company established in 1994, continues its tradition of producing thought-provoking works that challenge our understanding of identity and place. Their latest offering, Callings, is a poignant exploration of sanctuary and community, centred on the experiences of five queer individuals who find solace through Cara-Friend, a befriending service founded in the 1970s to support the often-hidden LGBTQ+ individuals across Northern Ireland.

In Callings, director Paula McFetridge crafts a thought-provoking and intimate piece that serves as both a reflection on societal progress and a reminder of the struggles that persist. It is an important contribution to queer storytelling, that will be resonating powerfully with audiences both within and beyond the LGBTQ+ community.

At the core of Callings lies a heartfelt journey of belonging and hope, brought to life by an ensemble cast. The performances allow the writing, by Dominic Montague, to resonate deeply. Montague's writing is commendable in terms of the balance of gender and sexuality, crafting characters that are both believable and relatable adding a layer of warmth. While the humour is enjoyable, occasionally this serves as a release and momentarily diffuses the intensity of the subject matter.

The production's set design is refreshingly simple, enhancing rather than detracting from the narrative but I’m wondering if a more dynamic moveable set would have added to the intensity. The effective use of lighting draws the audience's focus, while the sound design particularly at the opening and the key scene of intimacy and emotional depth. The sound design worked very well, especially at the beginning and during a key scene where we are witnessing an intimate moment between two male characters, disrupted sharply by sound was startling and surprising. I found the film and music references to be a strong choice, seamlessly propelling the narrative forward and my own sense of place.

However, the integration of historical context through direct audience address felt somewhat disjointed, momentarily disrupting the play’s rhythm. A longer runtime may have afforded the characters the space to develop more fully, enriching their story arcs. While the intimate encounters between the two male leads are handled with sensitivity, the simultaneous monologue to the audience occasionally distracts from their intimate first encounter through conceptual movement.

The ensemble cast delivers a commendable performance, with each actor contributing to a sense of authenticity and connection with each other. Notably, the character of Tommy appears to experience a more pronounced journey, yet all members demonstrate a strong chemistry that enhances the overall experience. By the end of the final scene, I found myself moved, yet yearning for a deeper exploration of the characters’ stories.

Cast

Vicky Allen as Bridget

Michelle Wiggins as Helen

Christopher Grant as Jason

Chris Robinson as Martin

Simon Sweeney as Tommy

Creatives

Written by Dominic Montague

Directed by Paula McFetridge

Costume Design - Erin Charteris

Set Design - Stuart Marshall

Choreography and Intimacy Co-Ordination - Paula O’Reilly

Sound Design - Katie Richardson & Sophie Long

Lighting Design - Conleth White

Production Imagery: Conor McClure

Producer: Andrew Hume

Assistant Producer: Lizzie Howard