Earworm – the importance of music.
Appropriately perhaps, we descend into the basement of Dalston’s The Divine, where the queer nightclub has been transformed into a theatre for this production. This show, Gur Arie Piepskovitz’s ‘Earworm’, is self-described as ‘an anti-romcom’ and wears that like a badge of honour as it explores the breakdown of a relationship.
First, we’re met with our protagonist, Guy, played by Avid Tidhar, as he performs to us (breaking the fourth wall somewhat) and two critics. It’s an introduction to his character, and something that’s fundamental throughout this play, the importance of music in his life. Tidhar gives a sterling performance of a character that is somewhat happy-go-lucky, somewhat ditzy, and I’m sure we all know someone like him.
Soon after, we’re introduced to John, played by Brodie Bass, the partner of Guy. And in sharp contrast to Guy, John is an academic, meticulous, and dare I say, somewhat controlling. Bass brings a hint of charm and charisma to this character, with undertones of aloofness too.
To complete this cast, we’re also joined by Tyler, played by ANDRO, and Zayn, played by Nadjei Fofie-Dam. Whilst playing the two critics in that initial scene (and a reprisal later in the show), they play a couple. Tyler, like John, is an academic, though has a little more experience to share. And Zayn is Tyler’s younger creative parter, who sees the world in a different light, growing up in a different generation.
Each of these characters has a quite complex backstory. For example, there was quite an emphasis on John working towards his PhD that I felt honestly was a little contrived. I’m not sure that it added much for the audience, to go into this much detail, but the characters were well rounded and full.
The play’s narrative tries to hit many different marks, some tender moments, some more lighthearted, shifting pace and surprising us with its direction. Its strength lies, for me at least, in the ‘dinner party’ scene, where all four characters are on stage. It’s the meeting of two couples, each addressing their struggles, sharing their experiences.
It’s not to say that the rest of the play is terrible, it truly isn’t. But it is this scene (and all those set in Guy’s living room), with its constant ebb and flow, of building to crescendo and not quite getting there time and time again, of rawness and wonderful choreography which was sublime to watch. I was on edge, not knowing which direction we were headed and I felt connected to each character in different ways.
Of course, pub theatre (or more aptly, gay bar theatre) isn’t an easy feat with its limited restrictions to significantly change sets between scenes, and therefore transport us into different locations. And whilst for me the living room was strongest, I also liked the playfulness of the scene where Guy and John are in bed together. Cudos to the entire creative team on this, including sound, lighting and production.
And we can’t talk about a play called ‘Earworm’ without mentioning the soundtrack, an eclectic run through of queer musicians and artists across a plethora of generations. I was pleased to hear Sufjan Stevens personally, and hear Anohni (nee Antony) and the Johnsons name checked too.
As I load up Antony and the Johnsons’ ‘I Am a Bird Now’ album on my phone, and hear their melancholy, yet dulcet tones, I’m reminded of the good fortune those who have fallen in love have been blessed with, whether that love works out, or not. The music we surround ourselves with – for me Bon Iver and Elbow soundtracked a particularly harrowing breakup whilst I was at university – is for many, critical in our recovery.
Unfortunately, Earworm was only on for a short-run between Sunday 20 and Wednesday 23 October 2024 at The Divine in Dalston, though I hope that at some point it’ll come back for you to watch it.