5.05°C t’s a welcome home to the beautiful Lakeside Theatre, one of the true gems of East Anglia, for this powerful and gripping play. First staged here as a work in progress, Two Come Home went on to win Best LGBTQ Production at the 2024 Colchester Fringe before embarking on a successful tour, including performances in London and seven Fringe Theatre Awards nominations. Having seen earlier incarnations of the play, this now feels like the definitive version. Joe Eason’s story of suppressed gay love in the wilds of America is fully realised, with a score that is rich, beautifully performed and almost cinematic in scope.
Evan, newly released from prison and sober after addiction, returns home to battle both his troubled relationship with his addicted mother, Amy, and the reappearance of the love of his life, Jim, which offers a fragile chance of redemption and happiness. But another homecoming looms. Evan’s abusive father, Caleb, also released from prison, is heading back to the same house Evan has inherited, bringing unresolved trauma sharply into focus.
Joe Eason fully inhabits Evan, presenting a man clearly damaged from the opening seconds. His struggle to reform and rebuild a quieter, more stable life radiates through his twitchy, on-edge physicality. Ryan Williams delivers a beautiful and nuanced portrayal of Jim, offering an authentic depiction of masculinity and love. Their shared central song remains the emotional heart of the play, a powerful moment where passion and longing finally erupt.
Krista Larsen, as Amy, feels and appears slightly young to be Evan’s mother, even allowing for her having given birth at 15. The dynamic between them can read more like siblings than parent and child, and while technically strong, the relationship lacks full authenticity. This is not the case in her scenes with Caleb. Michael Claff delivers a brooding, unsettling performance as Evan’s father, embodying toxicity and threat, and Larsen’s vulnerability in these moments is palpable.
I have long been unconvinced by the character of police officer Ashley, here played by Hannelore Canessa-Wright. The role remains a confusing one, a gay character who appears to harbour feelings for Evan yet lacks authority and purpose within a play steeped in masculinity. That said, this is no reflection on the performance, which is handled with clarity, strong exposition and excellent comic timing.
The band are superb throughout, while the lighting and sound design heighten the play’s claustrophobic and emotionally charged atmosphere. Isobel Sheard’s direction builds tension with confidence and precision, shaping a piece that now feels fully formed. Two Come Home has all the makings of a classic work of gay theatre, and it is deeply rewarding to see it return to the stage where its journey began.
Review by Paul T. Davies, Theatre Editor, Keep Colchester Cool
