A wacky, inventive and consistently entertaining show while exploring the complexities of online fame and sex work.
Ricochet Theatre has built a reputation for supporting new writing through its Bulletpoints showcase, which is where Ricochet Theatre has built a reputation for supporting new writing through its Bulletpoints showcase, which is where F*ck Machine first began life before being developed into a full production with support from Contact Theatre and the Royal Exchange. Written by Helena Braithwaite and directed by Ella McKeown and Rosie Thackeray, this dark comedy takes a surreal look at online sex work, internet fame and the pressure to keep audiences watching.
Braithwaite also stars as Baby, a woman fed up with the routine of everyday life who finds herself drawn into the world of online sex work under the guidance of Bunny, played by Frankie Lipman. While the premise might sound heavy going, F*ck Machine approaches the subject in a way that is often bizarre, frequently funny and far more playful than expected.
What stands out most is how committed the production is to its own weirdness. Clowning, puppetry, cabaret and absurd comedy all collide over the course of an hour, creating something that constantly surprises. There is a confidence to the writing that allows it to take some fairly big swings, and for the most part those risks pay off.
Braithwaite gives a strong performance in the central role, capturing both Baby’s excitement and growing desperation without ever losing the audience’s sympathy. Frankie Lipman is equally engaging as Bunny, bringing plenty of charisma and humour to the role. Together they carry the production effortlessly, even during its strangest moments.
The comedy is where the show is at its strongest. Some productions tackling similar themes can feel determined to make sure the audience understands every message being delivered. F*ck Machine is far more entertaining than that. It trusts its audience and finds inventive ways to explore its ideas without turning into a lecture.
The biggest laugh of the night came courtesy of a vibrating toothbrush, with the production wisely leaving just enough to the imagination. It is exactly the sort of ridiculous moment that sums up the show’s approach. The humour is often bold, occasionally uncomfortable and sometimes completely unexpected, but it keeps the audience engaged throughout.
There is also something refreshing about how the play presents online fame. Rather than offering straightforward answers, it explores the contradictions that come with seeking validation, attention and connection through a screen. Those themes sit beneath the comedy without overwhelming it, allowing the production to remain entertaining first and foremost.
Not everything lands quite as successfully. The final section feels less focused than the rest of the show, with the story appearing to reach its conclusion more than once. After such a sharp and confident opening hour, the ending feels slightly overextended, as though several different ideas are competing for the final word. It never derails the production, but a tighter conclusion would have given the strongest moments even greater impact.
Even with that slight wobble towards the finish, F*ck Machine is an impressive debut from Helena Braithwaite and another strong example of Ricochet Theatre’s commitment to developing new work. Wacky, inventive and consistently entertaining, it manages to tackle serious themes without sacrificing its sense of fun. Most importantly, it never feels predictable, and that alone makes it worth paying attention to.
This show’s run is now concluded and ran at Contact Theatre, Manchester from 3 to 6 June 2026. Ricochet Theatre’s next production, Age, will be presented at Riverside Studios as part of the Bitesize Festival this summer. first began life before being developed into a full production with support from Contact Theatre and the Royal Exchange. Written by Helena Braithwaite and directed by Ella McKeown and Rosie Thackeray, this dark comedy takes a surreal look at online sex work, internet fame and the pressure to keep audiences watching.
Braithwaite also stars as Baby, a woman fed up with the routine of everyday life who finds herself drawn into the world of online sex work under the guidance of Bunny, played by Frankie Lipman. While the premise might sound heavy going, F*ck Machine approaches the subject in a way that is often bizarre, frequently funny and far more playful than expected.
What stands out most is how committed the production is to its own weirdness. Clowning, puppetry, cabaret and absurd comedy all collide over the course of an hour, creating something that constantly surprises. There is a confidence to the writing that allows it to take some fairly big swings, and for the most part those risks pay off.
Braithwaite gives a strong performance in the central role, capturing both Baby’s excitement and growing desperation without ever losing the audience’s sympathy. Frankie Lipman is equally engaging as Bunny, bringing plenty of charisma and humour to the role. Together they carry the production effortlessly, even during its strangest moments.
The comedy is where the show is at its strongest. Some productions tackling similar themes can feel determined to make sure the audience understands every message being delivered. F*ck Machine is far more entertaining than that. It trusts its audience and finds inventive ways to explore its ideas without turning into a lecture.
The biggest laugh of the night came courtesy of a vibrating toothbrush, with the production wisely leaving just enough to the imagination. It is exactly the sort of ridiculous moment that sums up the show’s approach. The humour is often bold, occasionally uncomfortable and sometimes completely unexpected, but it keeps the audience engaged throughout.
There is also something refreshing about how the play presents online fame. Rather than offering straightforward answers, it explores the contradictions that come with seeking validation, attention and connection through a screen. Those themes sit beneath the comedy without overwhelming it, allowing the production to remain entertaining first and foremost.
Not everything lands quite as successfully. The final section feels less focused than the rest of the show, with the story appearing to reach its conclusion more than once. After such a sharp and confident opening hour, the ending feels slightly overextended, as though several different ideas are competing for the final word. It never derails the production, but a tighter conclusion would have given the strongest moments even greater impact.
Even with that slight wobble towards the finish, F*ck Machine is an impressive debut from Helena Braithwaite and another strong example of Ricochet Theatre’s commitment to developing new work. Wacky, inventive and consistently entertaining, it manages to tackle serious themes without sacrificing its sense of fun. Most importantly, it never feels predictable, and that alone makes it worth paying attention to.
This show’s run is now concluded and ran at Contact Theatre, Manchester from 3 to 6 June 2026. Ricochet Theatre’s next production, Age, will be presented at Riverside Studios as part of the Bitesize Festival this summer.