‘A Hedgehog’s Dilemma’ Review: Absolutely No Dilemma in Going to See This Production

Cicely LoBreglio

Pictures by Abby Swain.

Both the playwriting and directorial debut of Zak Muggleton-Gellas, Open Theatre’s ‘A Hedgehog’s Dilemma’ explores the convoluted cast dynamics during the run-up to a university’s student musical production. Opening with a monologue referencing philosopher Arthur Schopenhauer’s eponymous ‘hedgehog’s dilemma’ about human intimacy, the play quickly picks up and sees characters Jemima, John and Oliver deliberate on who they should cast in the musical that they are directing and producing. The play then waltzes between scenes of play rehearsal and characters’ gossiping about one another (“she’s not even from London!”). While specifically relating to the world of musical theatre, Muggleton-Gellas has managed to effectively capture the very universal nature of the often-catty behaviour of the 20-something students to which any audience member can relate, without relying on over-determined characterisations. This play is just as much about the universality of modern human behaviour as it is about the competitive nature of musical theatre.

One of the highlights of the play is undoubtedly the “park bench” improvisation scene, whereby scenarios previously submitted by the audience (via QR code) are acted out until—both cast member and character simultaneously looking nervous—director John calls enough. This touch makes the production feel fittingly interactive, especially in view of the way that the space is utilised. Taking place in the Leeds University Union’s Pyramid Stage, it is abundantly clear that this play was intended from its conception to be performed in the round. The limited props and straightforward costuming also only add to the authentic feel of the piece.

The play also finds strength in its messy but organic representation of queerness. One director, John is gay and the other, Oliver, is bisexual. The biphobia that the latter experiences from his own girlfriend is indicative of the age-old stereotypes that are constantly levelled against bisexual-identifying people. Character Archie (Austin Keane) also has a crush on the director and straight-presenting Elizabeth (Eleanor Haslam) has a one-night stand with character Max (Jenna Bowman) , who then turns out to be quite misogynistic (“liking girls is not the same thing as being a feminist”, Oliver points out to giggles from the audience). These nuances aid the play in exemplifying the obvious: that queerness can be funny without being the butt of the joke.

Whether or not you are a fan of musical theatre, this play has something for everyone: characters absent-mindedly singing High School Musical, drunk dancing, a zoom therapy session, misattributing quotes to Barbra Streisand, and even a reference to last year’s season of Love Island (guaranteed to resonate with almost any young audience). Any awkward pauses or stumbled lines only add to the organic nature of the play’s drama. The casting is especially strong, with standout performances from Will Grimes, who plays director John, and Ruby Dean, who plays producer Jemima. At times it does feel hard to synthesise Schopenhauer’s theory with the rest of the narrative—at most it is a cute but slightly unnecessary framing device. Ultimately, however, this play is strongest at its level of conception: Muggleton’s original take on the mise an abyme is not just enjoyable but gives the audience considerable insight into the world of the theatre. Unsure if you should see it? Think “yes, and…”.