Sex, drugs and the V&A: An exciting piece with a promising future
A young painter gives up on his dreams, whilst the woman he loves has hers come true, and his friend seems to have none at all. F**K ME TO DEATH by Lucas Blackburn tackles the relatable rollercoaster that is being a young creative today.
The play’s characters are its cornerstone, and are each portrayed thoughtfully both in writing and acting. Oliver, our protagonist, is down on his luck and lacking confidence, and his friends contrast well with this journey whilst mirroring it in their own way. Melody is becoming successful in the art world and Adam is unbothered by life, but none of the three seem entirely happy. Everyone is lost in some way, and it’s nice to see none of them depicted as knowing what they’re doing.
A particular highlight is Oliver’s monologues, where he talks about his recurring dream, swaddled in a cocoon-like blanket. It offers a warm, vulnerable contrast to the largely comedic writing and his more neurotic energy in group scenes. Actor Louis Brown shines throughout, but he is particularly engaging in these stiller moments. He switches adeptly between the dreamlike state and reality both here and in scenes at the club with Adam.
Katie Fletcher’s portrayal of Melody is incredibly fluid and captivating. She is a proper scene-stealer in that it is difficult to take your eyes off her. Her energy stays consistently high and she brings both levity and warmth to her performance. Marcus Fortuna’s Adam provides much-needed comic relief, with a sadness hidden under the surface. I am intrigued to see these characters developed further. Perhaps they could each have their moment in the spotlight if Blackburn decides to lengthen the piece in the future.
A longer rehearsal period would certainly benefit this piece, where performers can sit in and play with their roles. At times the blocking felt a little stiff and it seemed actors weren’t always confident with knowing where to go next. Fewer set changes would allow for smoother transitions between scenes; most action could easily take place in the living room layout, with club scenes happening downstage like with Oliver’s monologues.
Like the set, the lighting is simple and effective, but there is so much more to be played with, particularly in more surreal parts of the piece. Sound cues are very quiet, so it is hard to catch everything. It feels like the volume has been lowered to hear actors’ lines, when really there should be a focus on projection. This, with the energy, picks up over the course of the piece, but needs to start at a higher level so the audience can catch the lines. The one-liners in this piece are laugh-out-loud funny, and it’s a shame they aren’t said louder!
A lot of my critiques here are easy fixes. Blackburn’s writing is strong, and his performers are talented and engaging. I can easily see this show becoming a longer piece, as there is so much room for expansion in both story and character.
This work-in-progress play holds a promising concept that lays a strong foundation for future iterations. I would love to see this piece developed further, as its future looks to be very bright.
F***K ME TO DEATH ran from 25-26 July at The Kings Arms, Salford.