Frances Poet’s biographical tale of a man barred from realising his identity makes a smooth move to screen
The National Theatre of Scotland has developed a diverse portfolio of online work since last summer, from its extensive collection of remotely filmed shorts Scenes for Survival, to the theatre-based, theatre-celebrating Ghost Light. Adam is different again: a reworking for screen of Frances Poet’s play dramatising the life of its lead actor Adam Kashmiry, a young trans man from Egypt seeking asylum in Scotland.
Co-produced with Hopscotch Films, directors Cora Bissett (director of the production that began life at the 2017 Edinburgh Festival Fringe) and Louise Lockwood place the shivery desperation of Kashmiry’s performance front and centre.
Poet’s poetic script takes in Adam’s memories of a closeted and combative adolescence in Egypt. But it’s most interesting when conveying the interminable administrative hell entrapping him, unable to physically transition without asylum and struggling to gain it without proving his ’condition’. Here, Adam’s dynamic with Yasmin Al-Khudhairi – playing another side of himself he feels mixed about losing – is allowed to sing.
The show’s form supercharges its emotional punches by direct addresses to camera during a climactic call with Adam’s mother (the excellent Myriam Acharki), and tight close-ups. It doesn’t spare much time for designer Emily James’ lonely mannequins and rectangles, the details of which fade somewhat into Lizzie Powell’s moody but clear lighting.
Adam needlessly shows its hand by opening with the image of his lowest moment, considering self-surgery. This feels teasingly exploitative. Despite this, and the vague lyrics of Jocelyn Pook’s choral composition, delivered by trans singers worldwide, Adam devastates with efficiency.
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