by Laura Kressly

Section 28, the British law that prohibited the ‘promotion’ of homosexuality by local authorities, was passed in 1998 by Margaret Thatcher’s government. Though repealed in 2000 in Scotland and 2003 in England and Wales, Ellice Stevens (she/her) & Billy Barrett’s (he/him) verbatim musical demonstrates the harm this legislation caused on millions of queer people, and serves as a warning against today’s rampant transphobia.

The ensemble of six consists of two on-stage musicians, Ellie Showering (they/them) and Frew (he/him). Elevated above the stage, they provide the catchy rock and 80s-style synth score that gives the show momentum. Verbatim works can tend to plod without a central character who holds the story together, but in this instance the music keeps things moving nicely.

Stevens, Tika Mu’tamir (she/her), EM Williams (they/them), and Zachary Willis (he/him) take on a variety of queer people who came of age during Section 28, as well as politicians and parents whose homophobia brought the law into existence. There is no linear, character-driven story apart from the passage of time, which effectively shows just how widespread the law’s influence was and still is. The collage of monologues and scenes provides a moving snapshot, and cannily incorporates related events, such as the AIDS pandemic and queer activism. Video projections by Zakk Hein (he/him) add spectacle as well as sharing historical artifacts like newspaper headlines and archive footage.

Though trans people are minimally mentioned, much of the homophobia we see parallels current transphobia in the media and wider discourse. The right-wing rhetoric often focuses on protecting children, but this is easily debunked by progressive reason and inclusion. As much as its easy to conclude that society has moved on from the hate depicted in the show, it’s still here but directed at another demographic.

After the Act runs through 27 August.

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