ROTTERDAM could have been didactic and sentimental like a made-for-tv movie on such a hot topic as transgender politics. Instead it is a probing character study of two women at a crisis stage in their relationship. Alice and Fiona are a British couple living in Rotterdam where Alice works for a shipping firm and Fiona is a teacher. Alice, like many British expats, has never bothered to blend into Dutch society. After all, since everyone speaks English, why learn Dutch? To put it mildly, Alice is uptight and an inveterate conflict avoider. She has never come out to her family. In fact, Alice keeps too much to herself. Since she is not good at dealing with her emotions, Alice freezes when Fiona tells her that she is a man in a woman's body and that she wants to transition. From here on, he will be Adrian. We won't ask why it took so long for Fiona to figure this out or why she does so at this particular moment. The playwright seems to be dissecting British emotional constipation as much as gender politics. Alice and Fiona/Adrian share an apartment with Fiona's brother, Josh, who also was Alice's boyfriend until she met Fiona. Josh, a sweet guy, seems to be frozen into the odd position of living with his ex and her lover.
The play focuses on the emotional roller coaster ride Alice goes on. She's a prickly character who reacts testily when anyone tries to break through the wall of her privacy and reserve. However, living through watching her female lover turn into a man is too much for her. "I'm gay," she cries. The woman she loved is turning into someone else who is not feminine. Alice experiments with living the high (in all senses of the word), life in Rotterdam with a twenty-one-year old party girl, but doesn't find that totally satisfactory.
ROTTERDAM is somewhat about gender and sexual identity but more about the larger general issue of identity. Alice doesn't seem to have any real sense of self. Fiona is massively changing who she/he is. Josh's identity seems totally to be built on old relationships, on past, not present. It's a fascinating play. Yes, there is a ridiculous plot twist in the second act, and Alice's sudden Dutchness seems to be something out of an "I Love Lucy" episode, but these flaws doesn't weaken the strength of the studies of the major characters. Alice is not a pleasant person to be around. British drama is better at people who are fascinating but not nice than American drama is. The weakness of J.T. Rogers OSLO, for instance, which is likely to win the Tony (alas!), is that it tries to hard to make all of its characters charming. Much of ROTTERDAM is comprised of heated arguments, but they are well and wittily written. Alice is a mess. So is Adrian in many ways. But they are interesting messes.
The production is cleverly directed by Donnacadh O'Brian and very well acted by the four person cast. Highly recommended.