Alfie Webster’s debut solo show lenny. returns to the stage this autumn, following a sold-out premiere at Theatre503. Written and performed by Webster, the play is a raw and darkly funny exploration of identity, masculinity, and the longing to be seen.
Directed by Fringe First Award winner Sarah Stacey, lenny. has been praised for its emotional depth and bold storytelling. Developed through the Royal Court’s Introduction to Playwriting group, the production marks a significant moment in Webster’s career.
lenny. runs at Omnibus Theatre from 16 September to 4 October 2025, with press night on 19 September. Tickets are available here.
You’re starring in lenny. at Omnibus Theatre, what can you tell us about the show?
lenny. is a 70-minute rollercoaster of how it feels to step off the sidelines of your own life. It’s a delayed coming-of-age play, dissecting how sometimes, as queer people, we go through formative moments slightly later in life—and find strength in that.
It’s full of monumental dance floor hiccups, falling in love with the wrong people, and reconciling with all the different parts of yourself, rather than just choosing one certain way to be. It’s full of fun and plenty of laughs, as lenny. puts his foot in his mouth a lot and makes all the mistakes possible!
lenny. explores themes of identity and masculinity. How did you approach these topics in your writing and performance?
lenny. is the kind of character who would walk around all day with a suspicious brown stain on his t-shirt and fall in love with a random man sat next to him on the bus to work.
Where he sits in the intersection of masculinity and queerness has always really interested me—and I love writing stories that break down traditional masculine archetypes. I think right now there is a conversation around how to bring a softness and a new understanding to what masculinity is, with shows like Adolescence, and I really want to continue those conversations.
I think there shouldn’t be a certain way to be a man, and we can all embrace our masculine and feminine.
The play was developed through the Royal Court’s Introduction to Playwriting group. How did that experience shape the final piece?
It was completely seminal! I sent a very messy draft of lenny. to them during lockdown, and it was a big moment in my career to have an email in my inbox saying they saw potential in it—even with all the messy parts, which is still really true to this iteration of lenny.
I felt like the group gave me conviction in my writing, as sometimes it can feel quite isolating to write and it’s easy to lose confidence. I met some incredible writers who continue to inspire me today.
What was it like working with director Sarah Stacey, and how did their vision influence the production?
Sarah is a dream to work with. I feel like we share a brain (we’re at the hive mind stage of rehearsals) and we totally speak the same language creatively—which is rare to come by.
Sarah has such dramaturgical skills and a very original sensory approach to building a show—it’s always how it feels rather than what it is. I think it’s so important with a solo show with such deeply personal themes to have someone who has such a grasp of your text and keeps you grounded—and I feel the play really is ours at this point.
This is your debut play. How does it feel to see it transfer from Theatre503 to Omnibus Theatre after a sold-out run?
It’s surreal and so cool! I’ve only ever wanted to work in theatre, and it’s been such a journey to this run.
We’ve discovered something really exciting through the remounting with our incredible design team, and we cannot wait to share what we’ve created with our audiences—ones that have already been a part of lenny.’s journey and fresh faces!
Sometimes, as a working-class creative, it can be so tough to stay in the room, so I’m really proud of the journey to where we are today with the play and that we get to do it again.
What would you say to anyone thinking of booking to see lenny.?
I would say I hope you feel deeply seen. The audience are a huge part of lenny.’s journey and are really part of his story.
I hope people feel that same permission to rediscover themselves as lenny. is learning to. It’s never too late to change and release unhelpful boundaries we put on ourselves.
I feel like we all know a lenny., so I hope audiences can identify those people in their lives and give them that encouragement to stop waiting and start living life to the fullest.
