Produced by The Perplex Team

The magnificent people of Iceland have gifted the world breathtaking landscapes, all-female political parties, openly gay presidents, the incest-avoidance app, Skyr, incredible writers, Ah yes, and Björk.

Now, direct from the nation’s National Theatre where Perplex Theatre Company still perform the production following its enormous success at Iceland’s Reykjavík Pride, Good Morning, Faggi has touched and soothed the lives of many during its Festival Fringe run. Here’s to another run (perhaps on a larger stage) in future years as musical theatre, sensual cabaret, and autobiography collide in this wholeheartedly gorgeous and important production from the equally wonderful Bjarni Snæbjörnsson.

Together with Axel Ingi Árnason, who provides composition and collaborative instrumentals, the pair launch into a saccharine routine that turns everything well past eleven, almost teeth-itchingly in its brightly over-the-top manner. But you can’t help feeling it’s a set-up, a smart one, and a big gamble that royally pays off as the pair hide the truth beneath those catchy tunes and aching grins.

The gradual revelation that this saccharine explosion of idyllic Queer haven is shortlived, and the autobiographical musical turns into the familiar, and heartbreaking, shades of pain and trauma many queer people will recognise. Just to the side are Snæbjörnsson’s diaries which provide an additional dimension to the staging as they investigate the past to see a grinning young boy who pushes to “Think positive!”. It’s a boy we all know. It’s us, it’s that past-self holding their world together as the shadows around swell larger.

Delving deeper into the darkness of the cold waters below of the truth and spaces in our hearts where love should flourish, Good Morning, Faggi takes an earnest, almost pleading stance at communicating with the audience as it bleeds out into a bittersweet concoction of tears and smiles set to Ingi’s magnificently scored songs. The resulting performance which tackles human rights, identity, and nervous breakdowns is a tough watch at times – even with Snæbjörnsson’s comforting presence.

Snæbjörnsson’s harrowing performance becomes less sugary-sweet, even, and more traumatic and primal in his struggles as a man made to feel like an outsider in such a small and isolated community. Transforming into a meta-narrative piece of theatre of their own devices, positioning the audience with the frank question of whether accepting tolerance is far enough to ensure the end of systemic oppression and abuse.

A vulnerable production, though entirely in the team’s control, crafted and choreographed to ensure no loose ends can lead to confusion, the testimonial focus of the show’s collective experience and frankness is to be heralded of course, but the writing, song-making and central performance make Good Morning, Faggi a powerfully effective piece of theatre, and one worth booking a flight for as it leaves Edinburgh.