Review of ‘Porn Play’: “Stimulating action pulls its finger out but doesn’t fully come together”

London’s Royal Court Theatre celebrates the world premiere of Sophia Chetin-Leuner’s play exploring sexuality, societal boundaries, and addiction. Guillermo Nazara shares his views on the show to let us know if its hardening narrative ends up cocking things up.

I wonder what our current Government would think of this show. Or its title. Perhaps plays with salacious names and sordid topics will be the next on their list of innocuous things they feel entitled to protect us from. There’s enough in Sophia Chetin-Leuner’s titillating narrative to raise a few eyebrows — and probably something else.

The story pulls no punches back. If you like it rough, you may have found your spot. And chances are, they might find yours too. It’s a gripping plot, and the arousal persists throughout the whole act. That is, of course, if you come in (let me finish the phrase) knowing that the heteronormative world is often repressed as f*ck.

It all begins with a female protagonist and her need to masturbate twice a day to relieve stress. Up until then, it’s a massive BFD (pun intended) for any LGBT+ person in the room. But of course, there’s more to it, and soon it will escalate into an uncontrollable addiction that takes over her entire life, very close to reaching a point of no return.

Chetin-Leuner establishes an engaging premise and delivers it with adequate deftness. Overall, the script is crafted with upbeat pacing, sharp dialogue, and perceptiveness. The text overflows (smirk) with interesting analysis of society’s codes and their understanding of relationships, love, and desire. Both the main and supporting characters are inviting and penetrating on an archetypal level. And ultimately, they get inside us deep enough to let us feel them.

That doesn’t guarantee a full dramatic orgasm, though. Your fantasies may run wild as the recount admittedly keeps you on edge for the most part. But in the end, the piece comes across as half-done — and so do we as its recipients.

All the scenes create a compelling buildup, opening wider and wider into the lead’s psychological demise. Her romantic life is affected. And later on, so is her work and her health — both mental and physical. Yet, although the script sets up a perfect scenario to delve into the protagonist’s psyche first-hand, the show can only generate an unfulfilling sensation of voyeurism.

We are given the reason for her dependency, which stems from unresolved PTSD caused by an early family tragedy. There are profound philosophical observations embodied through critical comments on John Milton’s Adam and Eve, and their potential clashes with contemporary morals. However, it always feels as if we were looking into this narrative from the other side of a window, unable to break the glass and get a better, resonant grasp of what is going on.

Consequently, the piece concocts an arresting first act and a hooking starting point for a conflict. And although the latter is well-endowed with both poignant and entertainment elements, there’s a sense of underdevelopment that never goes away — coming across as a bit of a quickie, where the job isn’t sloppy but doesn’t satisfy all our itches.

Beyond these flaws, the performance is, nonetheless, highly enjoyable. Every segment brims with amusing qualities, which the cast captures and accentuates with remarkable prowess. Among them, Will Close and Lizzy Connolly earn the greatest praise, flaunting an ample register in their multiple and contrasting roles, which range from vanilla to boisterous hardcore.

Another enticing component of the production is its immersive set design, which comprises both abstract and figurative touches. Guests are required to use protection on their feet, gloving their shoes up before entering the auditorium. As we do, an in-the-round padded room unfolds before our eyes, delineating a big elliptical space where most of the action takes place. Subtle lighting changes and a few props hidden beneath the mattresses complete the task. And it’s such a pleasurable stroke of genius.

Although its ability to haunt us materialises on a few occasions, Porn Play creates a slight overpromise by omitting the ‘fore’ in its title. The story has everything it needs to take us on a thought-provoking and emotionally pungent journey. However, it should squeeze more than just the last drops to unload everything that it can offer. Some people may beg to differ and use its current sold-out run as proof of my ignorance. Yet, regardless of what they think, critiquing doesn’t get me off. And despite this show’s themes, it doesn’t make me a wanker either.

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All pictures credit to Helen Murray.

Porn Play runs at London’s Royal Court Theatre until 13 December. Tickets are available on the following link.

By Guillermo Nazara