My Night with Reg was a breakthrough play for its writer, the late Kevin Elyot when it was first staged back in 1994.

It won many awards including a coveted Olivier.

It’s a bit of a liquorice-allsorts of a show with its comedy, satire, reflectiveness, observation and undoubtedly, tragedy.

Director Rod Natkiel headlines his programme notes with ‘This is not a gay play’- well in the Noel Coward sense of the term gay indeed it’s not – nor is a writer on a gay recruitment crusade. You could say it’s a gay version of Sex in The City if you want that’s if you feel the need to label it at all.

It’s about a community who, with advent of an epidemic, had to reign in their lifestyle and adapt to new times whilst mourning the losses of loved ones. Ooops haven’t we just gone through another one of those in which for most of us too the party stopped?

He may be in the title but we never get to meet Reg – though by the end of the show we all know most of the dark side shenanigans of this roguish idol through the mouths of the assembled company.

The setting is the conservatory of a house belonging to Guy who is the pivotal force in keeping long-term friends together.

This is an endearing performance from Joe Palmer as Guy, he portrays him like a faithful bloodhound with all its long droopy sad expressions, abject politeness and undying loyalty. A wannabe player who everyone just pats his head as he fusses over them.

Guy is hosting his housewarming and Oliver Jones is the chain-smoking John who is the first guest we meet in his conservatory.

It’s obvious to all except John that Guy worships the ground he walks on.

Handyman bovver-boot boy Eric observes the proceedings whilst painting the conservatory doors.

Francis Quinn is mild in delivery but achieves greatness in performance. His time-lapse growth from servant to master is sheer perfection.

Peter Neenan as the Jack-the-lad Daniel comes on like a welcome tornado party in act one bringing some much needed jovial campism such as silly toasts to ‘Sodomy’ and ‘Gross Indecency’.

Act two sees Guy hosting an after wake party for the now deceased Reg and we get to meet Benny and Bernie played by Tom Lowde and David Baldwin. Benny is loud and boorish whilst Bernie is quiet and boring – they say opposites attract.

I have often said that the beauty of live theatre is that unlike a movie, it’s never the same twice.

Act one lacked pace in places and was not without the odd actors’ brain freeze moments.

Elyot’s text does not offer up wiggle room – if you don’t deliver it as intended it will show. I am sure the experienced and talented Natkiel has been meticulous in his delivery mechanics and that this was just first night ‘bedding in’.

I did have a problem with some of the staging though. From where and those around me were seated, when John sat facing upstage on a table in front of us, he obscured whoever was sitting facing him.

Meaning unfortunately we missed the physicality in some important conversations.

Come act two and everything went up a few gears there was definitely more energy and company synergy to draw us in.

There is a third and final act, which was the most powerful of the three. It concerns another funeral and moves the players on to a bittersweet checkmate of a climax.

All credit to the Crescent for staging this iconic piece of theatre.

It’s a well-deserved sell out but you may be lucky to get a return – well worth trying for.

My Night With Reg runs at the Ron Barber Studio at Birmingham’s Crescent Theatre until Saturday, July 18. Click here for times, tickets and more information.

****

Review by Euan Rose

Euan Rose Reviews