The driving beats of Scissor Sisters and Bronski Beat, thundering from the speakers as the audience enters, set an energised precedent for what is to follow in writer Ben Fensome’s one-man show. In this respect, David O’ Reilly’s foot-off-the-brake performance as a gay, newly single, plus-sized primary teacher, does not disappoint. From the start, he is a riot of verbal zest, tossing off expertly delivered comic nuggets with effortless aplomb. The parade of cutting, clever and witty remarks flow forth at a consistent, dazzling pace, as if second nature.

Finding himself back on the market following a breakup with his long-term partner, he discovers a rigid and regimental online dating world that seems structured against his profile. Commandeered by influencers and apps that posit a body fascist perspective seemingly to the expense of any other quality, he struggles within a hostile environment. A propensity towards crude comments when nervous also works against him socially. He inadvertently insults one of his first dates. He nevertheless buoyantly endures a series of romantic misadventures, awkward encounters and frankly rude behaviour (one hook-up actually closes the door in his face before even greeting him). Another potential interest with whom he shares an otherwise successful date suddenly and bewilderingly ghosts him. He maintains, on the surface at least, a sense of goodwill and cheer as the bad dates grind on. But O’Reilly does not spare a self-critique either, as he suggests a quality of focus, a bit too fervent, that others may find off-putting.

O’Reilly’s triumph is in the subtle shadings he introduces incrementally, as every slight and rejection wears away at confidence, self-worth and joy. For a good deal of the time, he finds balance and perspective in conversations with his roommate Jamie, a fit Instagram model whom most assume is a narcissistic asshole, but who, our protagonist insists, is actually quite a nice guy on the lookout for true love. They eventually share a drunken night together which ignites potentials for the schoolteacher which Jamie does not unfortunately share. When the roommate eventually finds a significant other in the unexpected form of a geeky barista, baffling and enraging O’Reilly, the pairing sets the dynamic of the roommates off. O’Reilly could accept losing Jamie to an an equally buff partner, a meeting of two gods, but someone deemed otherwise ordinary, is a personal affront. 

What follows when Jamie  moves out and into a flat with his boyfriend is alarming and painful. O’Reilly brings the audience so uncomfortably close to what feels like an authentic emotional and mental breakdown that for a spell a viewer may want to look away. He fearlessly tumbles down the rabbit hole. Here the stark staging emphasises that there is no space to hide, he is exposed. The stage is a sudden metaphor for a soul stripped to its bare foundations. Despair and desperation lead to a run of bad decisions and choices. The audience may recognise their own darkest moments. Proportion is momentarily lost. In a quick, breathless succession of scenes, we witness a sweaty, intemperate, late-night appearance at the door to Jamie’s new flat, an angry and vituperative exchange with his students over an impertinent comment and vicious, vengeful remarks thrown like daggers at his ex and his new partner in an encounter on the school grounds. So visceral are these sequences, the audience winces, watching a person in total meltdown. You fear momentarily for his ability to recover. 

But to Fensome’s and O’Reilly’s credit, the creators are not interested in a tale of tragedy but of self-acceptance. In a welcome coda, we see O’Reilly at play with his nieces, shoring up his sister who has been going through a bad divorce. He is seeing outside himself. His sister, whose calls he has been ignoring throughout the run of the show, is now his focus. As he reassures her, he also speaks to himself. It’s startling to find that O’Reilly did not write the piece himself he so inhabits the soul of the character. The final script must be the result of a tight and respectful collaboration between Fensome, O’Reilly and director Scott Le Crass, all of whom were allowed to contribute their own insight. The audience can only be thankful that the protagonist has found a form of peace when we have seen him so terribly low and close to an end.

{🎟 AD – PR invite – Tickets were gifted in exchange for an honest review}

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