Seductive show with a healthy dose of terms such as ‘flutter-bitch’, ‘fitter-fuck’ and large black dildos flung around for shock comedy value to ensure we stand to attention.

 ‘Horse-Play’, written by Ian Hallards’ is a seductive, sarcastic and sometimes, sadistic adult comedy. The set (designer – David Shields) is an S&M sex dungeon, decorated black and red themed ropes, leathers and latex, low-lit candles housing an iron cage centre-stage. Through characters Tim (played by David Ames) and Tom (played by Jake Maskall) we are taken on an exploration of a couples attempt at saving a relationship that’s gone stale in the bedroom long before, the slice of life theatre that we’re looking to be exposed to. 

  At the start of the show Tim and Tom are introduced via their superhero alter egos’ as they plunge into a pre-arranged date inside the chamber of a male dominatrix. The fast pace, quick wit, tongue in cheek humour filled with loud sex references, gave us as an audience a sense of ease, as we laughed at the very relatable and over-exposed pair.  Between the horny puns the fragility of the couples’ relationship starts to unravel as it becomes clear, this ‘event’ is more of a last resort than a ‘fun time’.

  Not to give away any spoilers, but something ‘interesting’ occurs that acts as a catalyst for the truth coming to light, that this is Tim’s sexual fantasy and as he is clearly the needy neurotic counterpart in the relationship, he has Tom on strings, as Tom desperately tries to manage Tim’s emotions and reignite the flame in their marriage. There was an outstanding performance from Matt Lapinskas who plays Karl, the handsome male escort, who becomes compromised amongst the couples unravelling. 

  ‘Horse-Play’ is certainly an exciting piece of writing which is bold and unapologetic. It’s not for the fainthearted, as a number of sexual fetishes are detailed. So, if you don’t know your Viagra from your poppers, you will leave having learned a thing or two about S&M. Another theme throughout the piece was an on-going references to 80’s soap operas, the memories expressed giddily from Tim’s perspective, indicating a blurring of make-believe with reality. This served as a novelty nostalgia for older audiences and infused intrigue for the younger viewers. 

  Director Andrew Beckett did a good job at managing the pace, ensuring the staging, the use of physical theatre and props was varied throughout to hold our attention and maintain tension.