David Ireland’s The Fifth Step, now playing at @sohoplace, is a searingly honest and darkly funny two-hander that grips from the first sip of black coffee to the final, devastating confession. This West End transfer, directed with taut precision by Finn den Hertog, finds new emotional depth in the intimacy of @sohoplace’s in-the-round staging.
Jack Lowden plays Luka, a nervous, sharp-tongued newcomer to Alcoholics Anonymous, opposite Martin Freeman’s James, a long-time member and reluctant sponsor. Their dynamic is spellbinding—Lowden’s restless energy sparking against Freeman’s tightly coiled restraint. What begins as a tentative cry (and response) for help quickly turns into a psychological tug-of-war, as Luka edges towards Step Five of the 12 Step Programme: the confessions.
And there are plenty of them—some are given freely, others teased or dragged out. Ireland’s script dances around a myriad of different themes, yet remains sharp, laced with biting humour and moments of aching vulnerability, deftly navigating themes of addiction, masculinity, and the elusive nature of faith and religion without ever slipping into sentimentality.
Freeman delivers a stand-out performance as James, a man whose calm exterior masks a storm of guilt and regret. His every pause and glance is loaded with subtext, making his eventual unravelling all the more harrowing. Lowden, meanwhile, is magnetic as Luka—volatile, charming, and deeply wounded. There always seems to be something simmering just under the surface in Lowden’s portrayal of Luka. Whether it’s the character’s views on homosexuality, pornography, or love of horror films, Lowden keeps us all on edge.
Milla Clarke’s minimalist set design allows us to focus on these mesmerising performances, while Lizzie Powell’s lighting subtly shifts to reflect the emotional landscape. Den Hertog’s direction is confident, allowing the text and performances to breathe. The in-the-round configuration at @sohoplace draws the audience into the confessional space.
The Fifth Step is an explosive drama, but it’s peppered with delightfully shocking comedy. There are plenty of profanities too, but in Lowden’s East coast lilt, they sound more poetic than insulting. It asks difficult questions about accountability, forgiveness, and whether true redemption is ever possible.
