Tag Archives: David Ireland

MOST FAVOURED

★★★½

Soho Theatre

MOST FAVOURED

Soho Theatre

★★★½

“this slick two hander pulses with life”

‘Most Favoured’ breathes new life into the Christmas story with a fresh, funny and heartfelt take on a cornerstone of Christianity. With a stellar cast and staging, it offers audiences a vibrant alternative to the usual festive fare.

Mary’s hiding a secret. Enter Mike, a clueless US tourist obsessed with KFC. After a whirlwind one-night stand, Mary lets her guard down… only to discover Mike has a secret too.

Written by award winning playwright David Ireland, ‘Most Favoured’ is an offbeat spin on a familiar story. Ireland makes striking use of contrasts: the oversharing Mary is set against the taciturn Mike, with rapid fire exchanges cleverly offset by silence. There are shrewd dynamic shifts, each character leaving the other speechless, and we power through a kaleidoscope of emotions in record time. Yet the twist proves predictable and the dialogue thereafter takes on overtly religious tones, losing some of its earlier sparkle and thinning the plot. The ironic finale – complete with a hilarious callback – lands with mischievous flair, though feels slightly misplaced after the devotional detour. Still, this is an entertaining spin that brings the story bang up to date.

Directed by Max Elton, Literary Associate Director at Soho Theatre, this slick two hander pulses with life. Staged as a single scene, the production sustains momentum through varied use of space and natural blocking. The contrasting characters are vividly realised, with nuanced reactions and expressive detail revealing inner worlds. The pacing is strong overall, though a few pregnant pauses could be trimmed. Still, shifts in tempo add texture and help us forget we’re in the same hotel room.

Ceci Calf’s set and costume design is spot on. The set convincingly evokes a well-known chain of budget hotels, complete with a witty window gag. The costumes are very on brand for each character, especially the use of colour which the clothes on the floor don’t immediately give away.

Amy Daniels’ lighting design is understated yet effective, lending the production a naturalistic feel. The closing fade, paired with a tongue in cheek reveal, provides a witty final flourish.

Marcus Rice’s sound design is pared back but intentional, using music sparingly for maximum impact. Naturalistic effects such as the shower are deployed with precision, adding just enough texture to bring the scene to life.

The cast is superb. Lauren Lyle – two-time BAFTA Scotland award winner – humanises Mary with gritty allure. Lyle deftly balances feistiness with tender vulnerability, her facial expressions effortlessly charting hope, betrayal and hurt with skill. Alexander Arnold, best known for roles in ‘Skins’ and ‘Yesterday’, is a quirky yet endearing Mike. Arnold’s deadpan reactions counter Lyle’s heightened energy, while sly comic beats – such as repeatedly eyeing the KFC during an impassioned speech from Mary – showcase his timing. Together, the pair make a charming oddball couple, delivering a masterclass in the art of showing rather than telling.

‘Most Favoured’ is a quirky, witty Christmas romp with a heart of gold. While the writing feels like a tale of two halves, the assured delivery maintains momentum, making this an engaging and entertaining seasonal show.



MOST FAVOURED

Soho Theatre

Reviewed on 15th December 2025

by Hannah Bothelton

Photography by Danny Kaan


 

 

 

 

MOST FAVOURED

MOST FAVOURED

MOST FAVOURED

THE FIFTH STEP

★★★★

@Sohoplace

THE FIFTH STEP

@Sohoplace

★★★★

“the direction is slick and there’s always a sense that something is around the corner”

About halfway through this bracing alcohol-and-redemption two-hander, James suddenly appears in a rabbit’s head.

This is a call-back to a dream that Luka recounts, Luka being a newcomer to the step programme of Alcoholics Anonymous. In the dream, his sponsor James appears like a rabbit, and so he does again in real life.

This is an interesting fantastical element, we think, seeing the world through Luka’s eyes.
James, in the rabbit’s head, offers Luka some cake.

‘What kind of cake?’ asks Luka.

‘Carrot.’

That’s the whole point of this elaborate set-up – a carrot joke. The rabbit’s head is swiftly dispatched and is of no further use or consequence.

Therein lies the tension at the heart of The Fifth Step. We can see playwright David Ireland’s impish inclinations at work. He can’t help himself. If there’s a gag, he’s going to veer off course to hoover it up whatever the cost to character, balance or timing. Now we’re thinking: that whole bit about Luka’s dream? Was that just there to construct the rabbit-carrot gag?

The writer really wants us laughing. He is successful – for it is a very funny play – but it is also an effortful and visible urge. It means many of those tight 90 minutes are devoted to set-ups and punchlines are not available to develop character, relationships and substance.

Because the play also has a hankering to tackle big issues. There is the overarching scenario – a suicidal alcoholic seeking aid from a long sober veteran. This leads to discussions about the oedipal reflexes of fathers and sons, spiritual awakenings, inventories of shameful behaviour (aka, the fifth step) and – hold on to your hats – sex. Lots and lots of talk about self-pleasuring.

The result is resoundingly entertaining but frustratingly slim.

That is not to say the audience is short-changed.

For one, it is a very comfortable watch. Yes, the expletive-rich script can prove occasionally jarring, but the action speeds along, the dialogue flies about like a pinball, the direction is slick and there’s always a sense that something is around the corner – some twist or revelation – that will provide fresh juice.

The stage (set design Milla Clarke), in the round, aids this sense of urgency. It is reminiscent of a scattered circle of folding chairs at an AA meeting but soon becomes a wrestling ring, with two minds locked in an embrace, fighting each other to a breathless standstill.

Secondly, there are the performances. They are simply superb – low-key and silky. Jack Lowden is the freshly minted star of Slow Horses and here he reprises his role as Luka from a short Edinburgh run. He is all chaotic energy, his leg always bouncing, his mind always racing.

Martin Freeman, as James, has a knack for freighted stillness. And, of course, he has a history of hangdog deadpanning that is firmly part of comedy legend. But we also know – if only from his Bafta-nominated role in The Responder – that beneath that placid exterior, roiling anger bubbles and seethes.

Their parts are underwritten and their relationship too mercurial to be wholly conclusive but in the moment, there is a wonderful chemistry. Finn Den Hertog’s direction makes full use of their combustible contrasts – younger and older, tall and short, keen and jaded, motionless and jittery.

All this makes for a brisk and punchy tour of two fractured psyches struggling to account for a lifetime of queasy impulses. Worth a watch, if you dare.



THE FIFTH STEP

@Sohoplace

Reviewed on 17th May 2025y

by Giles Broadbent

Photography by Johan Persson

 

 

 

 


 

 

 

 

Previously reviewed at this venue:

A CHRISTMAS CAROL(ISH) | ★★★★ | November 2024
DEATH OF ENGLAND: CLOSING TIME | ★★★★ | August 2024
DEATH OF ENGLAND: DELROY | ★★★★★ | July 2024
DEATH OF ENGLAND: MICHAEL | ★★★★★ | July 2024
THE LITTLE BIG THINGS | ★★★★ | September 2023
BROKEBACK MOUNTAIN | ★★★★★ | May 2023

 

 

THE FIFTH STEP

THE FIFTH STEP

THE FIFTH STEP