Review of ‘The Fifth Step’: “A shortage of spirits”

Martin Freeman makes his West End comeback with this new dark comedy two-hander, exploring the trials and tribulations of recovering alcoholics. Guillermo Nazara shares his views on the show, to let us know if this stirring cocktail of dramatic possibilities ends up wasted.

Trauma is the root of art. It’s dramatic for me to say it. Then again, it’s theatre that we’re talking about. But to be fair, I still need to find a single work of fiction (meaningful, that is) that’s not built from its author’s personal cracks. The Fifth Step is no exception to the rule. In fact, it follows it closely – perhaps, way too closely. Inspired by writer David Ireland’s real-life struggles, the show marks film and television star Martin Freeman’s West End return, playing alongside Jack Lowden in this new dark comedy two-hander depicting the burdens of alcoholic recovery.  

It’s a premise that doesn’t stand out in terms of originality, but that shouldn’t compromise its viability to trigger its viewers’ interest and get them taken by its pathos. To some extent, that goal is achieved, but just on the surface. Ireland does an adequate job of bringing introspection to the material through significant themes. The problem, however, is that he doesn’t exploit them enough to let their poignancy resonate.

Despite its fast-paced rhythm successfully serving as an engagement mechanism, its inability to hold the narrative at some key moments jeopardizes our investment, as an audience, into the characters’ journeys. All the elements required for their arc are generally in the right place but not stretched enough to form the whole picture. As a result, they give us some flashes of their emotional path, but never establish a connection for us to walk it along them.

Its occasionally clunky humour doesn’t help to counterbalance the issue either. The storyline preserves its appeal throughout, albeit its rushed, inconclusive ending doesn’t leave the best taste in our mouths. But as much as we are regaled with some brief thought-provoking observations through its overall well-crafted dialogue, the use of overly easy jokes (several of which are rather predictable) wipes away some of its sharpness – taken over by an uncomfortable feel of artificiality as the script tries too hard to fill itself with unrequested punchlines.

Directed by Finn Denn Hertog, its simple in-the-round staging accomplishes some level of intimacy. Nonetheless, Freeman and Lowden’s individual flair doesn’t translate into mutual chemistry for most of the part. There is rapport in their delivery but not an organic drive towards each other. Consequently, their portrayals look slightly detached from each other – carried with flow but incapable of conveying a sense of togetherness. Between the two, Lowden makes a standout through a more natural and better-timed rendition – with the latter becoming Freeman’s main weakness all through the performance.

Bottled with raw possibilities regarding gravitas and probity but unable to distill them to a satisfactory degree in terms of execution, The Fifth Step sets up an unfinished formula for an inquisitive exploration of the human soul. Structured appropriately as for topics and personages’ archetypes, the piece could b-ooze sobriety to some viewers, but it’s still a few retouches away before it gets us all intoxicated.

All pictures credit to Johan Persson.

The Fifth Step plays at London’s The Soho Place until 26 July. Tickets are available on the following link.

By Guillermo Nazara