Amidst LA’s frivolity and freedom, a traumatised black sculpture artist and his white ‘sugar daddy’ unearth the sexual power dynamics within their queer, interracial relationship, ending in a magnum opus that has tragic consequences – a masterful metaphor for a post-colonial world reckoning with itself.

Inspired by David Hockney’s Portrait of an Artist (Pool with Two Figures), the play opens on a lavish swimming pool that dominates the stage. Franklin, an African-American sculpture artist, emerges from the water in nothing but his speedos and discusses his professional and intimate aspirations with Andre, his white, 50-something billionaire art collector boyfriend.

The relationship may seem glam on the surface, but it’s complicated and layered, with the motivation on both sides dubious: Andre’s patronage allows Franklin to connect with wealth and power, but also allows him to channel his life through his art – his black baby doll creations represent his inner crying child; for Andre, the relationship may express his collecting interests, but also hints to a depraved, possessive and colonial mindset, a reality recognised by Franklin’s gospel-singing, moralist, southern mother, Zora. Franklin takes prescription pills, has panic attacks and becomes a narcissist incapable of maintaining a human connection. But, regardless of the state of things, Franklin seems to have a masterplan up his sleeve: a masterpiece that he is creating, and Andre is the subject and the object.

Matt Saunders’ set design is simply exquisite: the idyllic pool and sliding glass doors nurture a physical openness for the audience, reflecting perhaps the emotional and spiritual distance between the characters. Writer Jeremy O Harris continues the flair he displayed in his previous Broadway debut, Slave Play, and develops Franklin’s persona with fierce authenticity, channelling both the victimhood and villainy of a perpetually wounded child, whilst Taymor’s direction is sharp and studious. Isabella Byrd’s stunning lighting ranges from purple and blue when Franklin is in love and a raging red and then blazoning yellow in moments of truth. In these moments, it is edifying for Franklin, but he has tainted the lives of those he loved with false hope, as he was once tainted. ‘Daddy – A Melodrama’ lives up to its name in all the sounds and sights a melodrama should.

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