Review of ‘ROLEPLAY’: “Sex-driven show is worth a second coming, but it needs a bigger load”

You don’t have to be too open to enjoy this play. Despite its flaws (and there are many prominent ones), it has enough attributes to satisfy its audience. In other words, it’s fun to ride: intense but not too painful; it goes deep inside you without tearing you apart; and it offers some interesting reflections without coming out too thick. Its length might be problematic, though. In the end, it feels a bit too short. Not laughable, but still disappointing. Especially because its measurements aren’t the real issue; not doing enough with what it has is.

I don’t need to draw you a sketch so you understand this show is about sex. Surprisingly, its premise is more original than you may think. This is not the typical story about a repressed protagonist learning to embrace their kinks and fantasies. Well, it is, but how it’s presented is far more unusual — and just as enticing. The plot revolves around an investigative journalist who, after being commissioned to produce a new radio series on the subject, begins her research and subsequent self-discovery across its many angles, conducts, and disciplines.

From engaging in BDSM (or trying to) to interviewing escorts and popping her cherry as a club stripper, the narrative takes viewers on a journey of exploration and liberation — but also degradation. Writer and performer Hannah Reilly initiates a compelling debate by developing this arc. Perhaps a little too moralistic and one-sided, but thought-provoking anyway: where does the line between sexual freedom and personal debasement actually stand?

The author doesn’t hold back expressing her opinion. Inevitably, the show comes across as somewhat preachy. Yet, despite the occasional double standards in its humour, the writing demonstrates profundity and individuality. There’s a clear voice speaking through its lines, and it’s articulate and perceptive enough to be worth listening to — even if you don’t always agree with what it says.

Overall, the recount is highly entertaining. Reilly’s character is endearing and well-layered, making it easy for audiences to connect with her and her transformation. Some way or another, we can see ourselves in what she goes through, whether that be her clashing relationship with her mother or her hilarious encounter with a dom master in his custom-made home dungeon. Which one resonates more with me, I shall not tell.

The only structural problem resides in the lack of balance between the conflict and the resolution. Although the narrative is adequately paced for the most part, the conclusion feels too rushed and condensed. As a result, the story loses momentum, and its impact is jeopardised. All the elements are there, but they need to be squeezed to their last drop.

Reilly’s performance is nonetheless captivating. Her natural magnetism makes her own the stage from the moment she comes in, and her versatility honours each role without exposing too many holes. The same praise goes to the staging: limited to a set of standing microphones in a black box, its ability to transport viewers to the physical and emotional places the protagonist visits is truly remarkable — and theatricality at its finest.

In the end, ROLEPLAY is a well-assembled piece, but its dramaturgy suffers from excessive scissoring. At the same time, its message is splattered all over our faces with no room for different positions. However, none of those blemishes shouldn’t be too difficult to remove, just as it’s fairly easy to finger them. Like a haunting, unfinished painting, the show is erected with passion, but it still needs a few extra strokes to make a splash.

All pictures credit to Mihaela Bodlovic.

ROLEPLAY runs at London’s Soho Theatre until 21 November. Tickets are available on the following link.

By Guillermo Nazara