The Last Incel |Pleasance Theatre

Jamie Sykes’ The Last Incel is a journey of outrageously hilarious chaos that accompanies you into the inner world of the man-o-sphere and incel culture. Three actors each lift a rectangular frame to their faces, harsh blue light hits them and we are face to face with “Crusher”, “Ghost”, and “Einstain”- it is clear this is more than your average gaming chatroom. They are gathered to celebrate Einstain’s 30th year as a virgin and therefore his ascension to wizard status, an honorary right of passage for any incel. Joining late to the party is the very unfortunately named “Cuckboy”, making a frazzled entrance with some catastrophic news... he slept with a Woman, an offence punishable by ban.

Enter Justine Stafford as Margaret, a journalist who has no idea what she's in for. Post one night stand with Cuckboy, Margaret firmly plants herself into their world and becomes a beacon of reason. Sadly for Margaret, the incel community aren't well known for their love of reason, despite her professional and passionate approach. The show works hard to bring such a poignantly digital problem into the flesh and into a space where it can be fearlessly picked apart and displayed.

The whole show is full of energy from start to finish all thanks to the cast, who have an incredible chemistry that keeps the story afloat and alive. Fiachra Corkery, Jackson Ryan, GoblinsGoblinsGoblins and Jimmy Kavanagh, each capture incredibly distinctive incels who are equally disturbed. Each of them bring a unique stand-out humour to their roles and their unapologetic and skillful dance moves never fail to make the audience cackle. Stafford’s portrayal of Margaret hits home. She refreshingly encapsulates both an air of constant defeat and a drive for change with an unapologetically blunt sass.

By far, the stars of the play are the various movement sequences that punctuate the story. Despite the universal truth that incels stagnate behind screens all day, Emily Kilkenny Roddy’s movement direction is a clear highlight of the show. Deceiving our preconceived mental image of the incel slumped static over a computer, the hilarious, wild and often carnal dance numbers break the mould and fill the stage with energy both hilarious and gripping. Sykes' direction makes quirky use of the void space, fluidly capturing the battles for power so often found in these toxic male environments. It must also be mentioned that this show is a masterclass on how to utilise a simple prop effectively. Licking them, grinding on them, dancing with them and driving with them, the four screen borders are an excellent sixth character brought to life by the rest of the cast.

Overall, the show has biting humour on its side, which Sykes’ script balancing with the more serious moments. Although all of the comical moments are in excellent satirical taste, some jokes are hard to laugh at given the sudden sinister turns the show throws at you. In the moments that left you struggling to laugh, the air was filled with the sense that what was unfolding on stage was all too real and all too relevant. The ending creates a powerful image that sticks with you. The message lingers: incel culture is a self made prison, but it doesn't have to be a permanent one.

The Last Incel is a bubbling satire that boils over and spits at you with no remorse.

The Last Incel runs at the Pleasance Theatre until 31st May 2025.

Tickets and More Information

★★★★☆ (4*)

Gifted tickets in return for an honest review | Photography by Dean Ben Ayre