Despite the title, this play is a one-hander written by Simon Perrott — and the actor onstage is not Graham Norton. Instead, fifteen-year-old Mark, played by Jamie Kaye, grapples with his emerging sexuality and turns to a photo of Graham Norton as a safe, non-judgemental confidant for his thoughts and confusions.
The one-hour play opens with Mark entering in his school uniform, only to exit almost immediately and change into tracksuit pants and a singlet. The transition is so swift that there is barely time to register that Mark has just come home from school, leaving the context and character only lightly sketched.
From the outset, the narrative feels slightly muddled. Mark initially introduces himself to Graham Norton, yet a few minutes later implies they have already been speaking for some time, creating early confusion about the framing device. Throughout the play Mark interacts with multiple characters — his twin sister, parents, friends, and even his cat Kylie — but these figures often come across as stereotypical rather than nuanced.
Mark is presented as a 15-year-old, yet the dialogue doesn't always ring true: at times factually immature, given his education, internet use, and love of reading, while at other points overly emotionally self-aware. Whenever the story approaches genuine vulnerability, Mark retreats into chatter with Graham Norton, leaving the audience without a clear sense of depth or development.
Under Gerald Armin's direction, the production is strongest in moments of light comedy, where the energy feels natural and the writing more assured. However, when the script touches on heavier themes such as bullying, identity, and teen suicide, it tends to skim the surface. These scenes lack the emotional weight needed to give the subject matter real impact.
Although Kaye delivers a solid performance, he does not convey a clear emotional arc or significant internal growth for Mark. The dialogue feels overly rehearsed rather than spontaneous, so the piece often plays more like an extended monologue than a genuine journey of self-reflection.
The most effective ending comes when Mark reveals he has made a major decision about his future and turns out the bedroom light as the music swells. It creates a natural emotional crescendo, leaving the audience to ponder what Mark's next move might be. Unfortunately, Mark then re-enters the stage and the play continues, undercutting the moment by tying everything up neatly instead of allowing ambiguity and resonance.
Waterloo East Theatre's set design of Mark's bedroom works well, containing key aspects of a teenager's life in music and books. Jonathan Simpson's lighting design also provides some effective transitions into Mark's inner world.
Ultimately, the play shines brightest in its lighter moments but it struggles to balance humour with the more serious themes it attempts to explore.
Review: Lola Phillips Photo: Robert Piwko @robertpiwko