Little Lark of London

“You know what they want, but not who they are”

Walking into Breeding at the new King’s Head Theatre, you are greeted by a bright and colourful set with larger-than-life building blocks and what feels like a game board come to life, including a pathway that winds around the stage. The set, designed by Ruby Law, could nearly be considered a character of its own, with lighting by Rachel Sampley doing a brilliant job of enhancing the show. Writer Barry McStay takes on the role of Eoin and is joined by Dan Nicholson as Zeb. Together, the two form a happy couple that has been married for several years and are finally ready to begin the process of adoption. They are assessed by Beth (Nemide May), a woman who is also attempting to have a child. 

The structure of the show is Beth, the adoption assessor, taking the audience through the steps of adoption, explaining each one to set the scene for what is going to be happening next. We are introduced to Zeb as he returns from a night out partying with friends, greeted by a slightly exasperated Eoin who is clearly not interested in the threesome Zeb so gleefully suggests. This scene is interspersed with those of how the couple met, a sweet scene in which two men with odd names form a bond and then begin dating. The rest of the show plays out in a similar manner, with flashbacks occurring every few scenes in order to give the audience some more context to Eoin and Zeb’s relationship and how it has grown and changed.

One of the main themes of Breeding is how gay men like Zeb and Eoin have to jump through what feels like hundreds of hoops, sharing personal information and filling out dozens of forms just to prove that they are “appropriate” to become adoptees and have a child, while straight couples are simply allowed to have a baby by accident. This is illustrated in a powerful way by Zeb, who is frustrated with the process and is starting to grow weary. And, as Shakespeare says “The course of true love never did run smooth,” and that is certainly true for Eoin and Zeb, who must face truths about one another that must be confronted as their lives are being picked apart by Beth.

The highlight of the show is in the conversations McStay has created for the characters, which feel incredibly natural, conversations that you might have with a loved one or that you would overhear on the street. The more awkward conversations feel the most accurate, especially those in which Eoin is trying to prove himself as an “appropriate” potential parent to Beth, leading to confusion from her and laughter from the audience. One of my favourite moments is one in which Beth is interviewing Zeb and Eoin in separate rooms, but the conversation flows as if all three are together, talking with one another, allowing the audience to see not only the similarities but also the differences between the two men as they talk about their lives. 

Unfortunately, the impact that Breeding had on me was greatly decreased by its ending, which left me baffled and, if I am being honest with myself, quite frustrated. A show that could have become one of queer joy becomes yet another tragedy and a strange twist only adds to the disappointment. There is something concerningly manipulative about one of the character’s actions that takes away from the relationships that have been built over the course of the show, leaving a bitter taste in one’s mouth by the time the actors are taking their bows. 

Ultimately, Breeding is a heartbreaking look into some of the truths behind adoption in the 21st century for the LGBTQ+ community, particularly gay men. Though it has a bit of a strange ending, the actors do a fantastic job of bringing us into the world of Eoin, Zeb and Beth with McStay’s lifelike dialogue and beautiful words. 

Breeding runs from 21 March to 14 April at the King’s Head Theatre. Tickets can be purchased here.