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Gratitude

 
Nicholas Abrams Review by Nicholas Abrams 4 Published: 6 Jul 2026 50 Tank House Ln Show Dates: 6 Jul 2026-12 Jul 2026

This was an unexpected addition to my Toronto Fringe schedule. With a spare hour before heading home, I decided to squeeze in one final show. As it turned out, it was a very worthwhile way to end the festival.

A gripping play that pulls no punches

Gratitude is not an easy watch. The pre-show announcement describes it as suitable for audiences aged 14 and over, but that feels optimistic. This is a play filled with explicit sexual content, violence and disturbing themes that would sit far more comfortably with an 18+ audience.

The story follows 15-year-old Dariya, who becomes infatuated with Drew, the most popular boy at her school. Desperate for his attention, she attempts to drive a wedge between him and his girlfriend, only to become caught in an increasingly destructive web involving Drew and his two friends, Josh and Ben. What begins as teenage longing quickly escalates into manipulation, betrayal and shocking violence, with each successive scene raising the stakes further.

What impressed me most was the confidence of the writing. The plot never stands still, and every scene introduces a new twist or revelation. Despite the sheer amount that happens in its 60-minute running time, the play rarely feels rushed. Instead, it gathers momentum, drawing the audience further into an increasingly unsettling world. There is little respite, but the relentless pacing suits the material.

The four young performers all deliver impressive performances. Iman Ramadan is outstanding as Dariya, capturing both the character's vulnerability and manipulative streak without ever reducing her to a stereotype. Tiernan Tajalli brings confidence and charisma to Drew, while Josh and Ben are equally well realised, with Isaac Wolf Silvers particularly memorable as the naïve, often out-of-his-depth Ben. Together, the quartet handle some extremely demanding material with assurance.

The simple locker-room setting proves highly effective, while the operatic music used during scene changes provides an unexpectedly elegant contrast to the increasingly brutal action unfolding on stage.

My only reservation is that the play occasionally mistakes escalation for development. Every scene pushes further than the last, and after a while the constant need to shock begins to lessen its impact. Trimming one or two of the more extreme moments and allowing some of the existing material more space to breathe would have made the emotional consequences land even harder.

Even so, Gratitude is a bold, uncompromising and gripping piece of theatre. It certainly is not for everyone, but for audiences prepared for its challenging subject matter, it provides a memorable and fittingly unsettling end to the Fringe.

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The Blurb:

Gratitude is a provocative coming-of-age play that explores sexual awakening, consent, power, and identity through the lens of adolescence, at an age where we rarely talk about these experiences openly. At a time when conversations around consent and agency remain front of mind, this dark comedy offers a timely and challenging look at the formative moments that shape identity, relationships, and self-worth.