Pete MacHale’s debut show about his own experience as a trans man, Dear Young Monster, exudes charm and innovation.
On his Instagram, MacHale describes himself as ‘if a baby Guinness was a person’. He’s a very strong character from the moment he unfolds from his spot on stage following the projected introduction from the 1931 film Frankenstein.
Self-effacing, charming, physically quick despite his small stature, and blessed with a winning smile. As his character moves through his journey to become the man he always was, he uses the theme of Universal horror films as metaphor.
There’s the requisite best friend, well-meaning but clumsy mother, hostile neighbour, and bigoted thugs. Moments from the first testosterone injection to movie sleepovers, watching pub-goers for signs of typical masculinity and a difficult encounter at a party all land well.
Taking refuge in Boris Karloff’s movie monster, and Bela Lugosi’s outside as a Hungarian Dracula, MacHale’s young man impatiently waits for physical changes to his voice, hair, muscles while navigating a second puberty.
Each of the plays I have seen by trans writers have added another layer to my understanding as a cis woman. The small cruelties, the unthinking looks, the need to learn how to be and fit in, appearing confident even if scared inside.
Dear Young Monster has moments of beautifully crafted writing. Director/dramaturg Sammy J Glover has crafted a world for MacHale to inhabit of carpeted steps, a blanket, and a surprise at the end.
Their direction and Loe D’Arcy’s movement direction bring the words to life, pulling us into locations from the young man’s bedroom to a pulsing party.
This isn’t a play looking for pity, but a demand for visibility. The ‘monster’ is the girl inside the body, the make-up MacHale puts on when discussing Karloff’s metamorphosis, Mia who labels her trans best friend ‘weird’.
Dear Young Monster is a powerful, focused monologue. A tight piece of dramatic exploration of one person’s identity as it grows and they inhabit new experiences. A physically agitated production with sweetly comic curves.
If you know the film Frankenstein you will have that second level of appreciation with the scenes chosen for projection (bride, creation, little Maria), but you don’t have to, as MacHale clearly articulates the connection.
Utilising Soho Upstairs brilliantly, especially Cara Evans’s design, Hugo Dodsworth’s lighting, and Roly Botha’s sound and composition, Dear Young Monster more than earned its rapturous reception last night.
5 stars.
Dear Young Monster continues at Soho Theatre Upstairs until 16 Aug: tickets here. Not to be missed.
Image credit: Alex Brenner