Fourplay | King's Head Theatre

Fourplay, which is written by Jake Brunger and directed by Jack Sain, is wonderful exploration on relationships; particularly queer relationships. Crafted with intelligence, the play grips the audience from the get go and creates a drama filled 90 minutes that has the audience laughing, gasping and reflecting on their own lives and loves. 

Pete (Zheng Xi Yong) and Rafe (Lewis Cornay), a picture perfect couple of seven and a half years, have never been with anyone but each other. However, in a bid to explore something more, the couple approach their friend Michael (Daniel Bravo) with a one-time only request. To sleep with them. Individually. Michael, who is in an open relationship with their close friend, Andy (Jo Foster), agrees to this surprising proposal. However, as the events of the plan unfold, the four friends discover a series of revelations that change everything.

Brunger has created an excellent script for the play, with each line of dialogue armed with an explosive new depth to the characters. The dialogues are slick and snappy, with every line eliciting a reaction from the audience. Brunger's play, whilst already fascinating on a surface level, becomes even more devastatingly brilliant once the subtext takes over; allowing for moments of silence to be weaponised. Brunger's script is two steps ahead of the audience at all times, drawing them in and keeping them at the edge of their seats throughout. The characters are well rounded, creating rather compelling character studies, with their own hidden motives. Individual elements of the play have been crafted with care, yet it's ultimately Brunger's script that makes the play an instant success. 

Bravo as the mature and self-aware Michael is stunning at every turn, allowing for his minute moments of vulnerability to slip through the mask of his calm and collected self. Bravo takes the challenging role on with a stride, neatly adapting himself to match the other characters (and their needs), with a special mention to his formidable "the one in control" moment. Xi Yong nails the comedy in Pete; barely uttering a word, Yong manages to convey the depth of his desires. Yong's unexpected darker turn in the latter half of the play is delivered with a cutting delivery that stings with every line, made only more devastating with his lasting smirk. Yong's performance is sharp, bringing out his impressive range. 

Cornay is ridiculously charming on stage, with his sincere and earnest performance as the sensitive Rafe. Cornay's excitement and disappointment waves over the audience, making him instantly the most likeable character; remaining as a firm favourite as the eye of the hurricane. Tender and sensitive, Cornay displays an enormous talent for bringing out the nuances and intimacy of an open heart, with a winning performance. Jo Foster is a star in all rights of the world, with a dazzling performance that draws all eyes to them. Foster's performance is utter brilliance, as they take on the role of puppet-master both on stage and off stage, with audiences being just as swept away as the characters. Heartbreakingly brutal, Foster becomes Andi, channeling everything into the role. From small character choices, to the outbursts of dialogue, Foster proves themselves again, to be one of the most impressive young performers that this industry has to offer. 

Sain's direction takes the audience on an emotional rollercoaster of a lifetime; with every new betrayal ripping into them as though this were their own lives. Audiences are found laughing one second, holding their breath in anticipation the next, and biting their knuckles the third, as the drama unfolds before them. Brunger and Sain's ability to let the more humorous moments hide the darker truths is admirable, yet the play eventually allows the formal and intensity settle in. 

The play is quick to remain a safe space for the audience and characters alike, creating a vulnerability very rarely seen on stage. Sain creates a rather welcoming and non-judgemental hub, choosing to focus on each character as their own person, rather than pawns of a bigger game, whilst Brunger's script navigates the more treacherous twists. 

Peiyao Wang has created a gorgeous modern flat that doubles as both Pete and Rafe's flat as well as Michael and Andy's flat. The minimalistic approach, with a touch of contemporary class, is nicely done. Scene transitions are assisted by Benedict Cork's original music, which add to the emotional impact of each scene. Charlie Martin's movement is most noticeable in the montage of time passing, as each character slowly sheds who they used to be as they move towards the future; managing to continue the storytelling in silence. 

Daniel Carter-Brennan creates scenes of stunning lighting; managing to recreate the colourful craziness of video gaming without a TV, or the moonlight through window shutters following a moment of intimacy. Julian Starr aids the small moments, with recognisable and familiar sounds that strike a chord with the audiences. Amusingly, Starr's choice for a text message sound, has audiences grinning, despite the steadily more sad scene. 

Fourplay, whilst aptly named, ends up being the main event in itself, with audiences feeling thrilled throughout and leaving feeling shaken and satisfied. With a brilliant script, and even better performances, Fourplay is a true testament that the intimacy between people will always triumph.

Fourplay is currently playing at the King's Head Theatre until 10th August 2025.

Tickets and More Information

★★★★★ (5*)

Gifted tickets in return for an honest review | Photography by Jack Sain