Ten years after its original debut, Jake Brunger’s Four Play returns to the London stage in a slick and emotionally resonant revival at the King’s Head Theatre. Directed with precision by Jack Sain, this updated version of Brunger’s provocative comedy feels more relevant than ever, exploring the complexities of modern queer relationships with both biting wit and heartfelt sincerity.
At its core, Four Play is a dissection of monogamy, trust, and the emotional minefield of open relationships. Rafe and Pete, a couple of seven (actually seven and a half) years, decide to invite their charismatic friend Michael into their bedroom to explore what they’ve never dared before. But what begins as a seemingly rational experiment quickly spirals into a tangled web of desire, betrayal, and vulnerability.
Brunger’s writing is impressively tight, laced with laugh-out-loud moments that drew audible gasps and delighted chuckles from the audience. Yet beneath the humour lies a raw honesty that sets this play apart from others tackling similar themes. The dialogue is authentic and unflinching, never shying away from the emotional consequences of its characters’ choices.
The cast is uniformly excellent, with Jo Foster delivering a standout performance as Andy. Their impeccable comic timing is matched by a deeply affecting portrayal of heartbreak and confusion. Daniel Bravo brings a magnetic presence to Michael, balancing charm with a palpable sense of inner conflict. Lewis Cornay is captivatingly sweet as Rafe, particularly in the opening scenes where the awkwardness is both endearing and revealing. Zheng Xi Yong rounds out the quartet with a grounded and quietly powerful performance as Pete.
Sain’s direction is taut and confident, allowing the emotional beats to land without ever feeling overwrought. The production is beautifully supported by Julian Starr’s evocative sound design, which subtly enhances the shifting moods on stage, and Peiyao Wang’s clean, modern design that keeps the focus firmly on the characters.
Brunger’s tweaks to the script bring it firmly into the present day, reflecting the evolving landscape of queer identity and relationships. In fact, the themes feel even more urgent now than they did a decade ago, making this revival not just timely but necessary.
If there’s one criticism, it’s that the play leaves you wanting more. At just one act, there’s a sense that some relationships, particularly Michael’s with the other three, could benefit from deeper exploration. A two-act structure might have allowed for a more satisfying emotional arc.
This revival of Four Play is a brilliant reminder of how theatre can be both entertaining and emotionally incisive. It’s a show that speaks directly to the complexities of love and identity in the modern age, and audiences will laugh, wince, and perhaps even see themselves reflected in its tangled web of desire and honesty.
