With a smartly self-referential script from David Ireland, which is packed with engaging, funny, and irreverent dialogue, The Fifth Step proves to be a powerful and darkly comedic exploration of masculinity, trauma, and the human condition.
a powerful and darkly comedic exploration of masculinity, trauma, and the human condition
Through the lens of a relationship between a recovering alcoholic and his sponsor, the play presents the intense, messy, and often volatile dynamic between the two main characters, played by Jack Lowden and Sean Gilder. Lowden’s Luka, a young man wrestling with his past, is both raw, compelling, and very funny. Gilder plays the seasoned veteran who’s seen it all and is eager to impart his wisdom to a young man in need.
Both characters feel very real. Luka, in particular, embodies a restless energy, naivety, and insecurity that will be strikingly familiar to anyone who's gone to a Scottish state school. Similarly, James’s practised steadiness has a decidedly authentic ring to it, and the chemistry between the two actors is undeniable. Their push-and-pull dynamic drives the play forward as their relationship evolves amid changing behaviours and explosive revelations. The dialogue between them is funny, realistically inappropriate, and poignant.
Director Fin Der Hertog’s staging is another strength. The rotating Milla Clarke set is used cleverly, and nods to Harvey—a gentler, yet potentially more damaging, comedic portrayal of alcoholism—are handled nicely. The surreal interludes and stagier interjections, incorporating music, light, and dance, are also effective.
However, the play is not without its flaws. The script is ambitious and feels very Coen-esque at times but is occasionally overburdened by its many ideas. Identity, trauma, masculinity, abuse of power, infidelity, masturbation, religion, and classic movies—there’s a lot packed in. The play sometimes feels overstuffed, and things lose their way as it reaches a slightly histrionic finale. Some of the finely balanced character work, which grounds the play earlier, is lost in the climax.
Despite this, The Fifth Step remains a compelling piece of theatre, and the first play I’ve seen this August that I could take a lot of my very much non-theatre pals to and be confident they’d both be into it, and not call me an arty wank. Its willingness to tackle difficult subjects with both humour and seriousness is commendable, and the stand-out performances of Lowden and Gilder make for a very thought-provoking and enjoyable drama.
