FOAM at the Finborough Theatre

★★★★

“The execution of the story is fascinating and the reflection on the punk and queer scene of the time is illuminating”

Foam is a biographical story about a gay neo-Nazi from 1974 to 1993. We follow his life through a series of conversations with other gay men, all taking place in a public toilet from the day he shaves his head to… the final bathroom. The show depicts racially sensitive subject matter, homophobia and violence (Jess Tucker Boyd as fight director). Some of the conversations are up for interpretation with regards to the takeaway message.

The audience enter to the sounds of a dripping echoey lavatory (David Segun Olowu). The room is plunged into darkness as startling punk music clangs around the intimate Finborough Theatre, with the audience sat on three sides. Lights up on Nicky with shaving foam on his head. Written by Harry McDonald and directed by Mathew Lliffe, Foam is an intense, cerebral and provocative examination of the dichotomous person that was Nicky Crane. The conversations are wide ranging; confrontational, sexually charged and also humorous as Nicky tries to connect with other queer men through the changing eras of the punk and gay clubbing scene.

The set is evocative and timeless with its industrial white tiled walls, blurry mirrors and fixtures of a public convenience (Nitin Parmar). It is lit with atmospheric colours and makes use of the glazed windows above and light seeping through the centre stage cubical. Colours creep into scenes slowly, before you notice the ‘rosey tint’ of Nicky’s memories (Jonathan Chan).

“Walker multi-roles these characters with tension and levity opposite Richards who is terrifying and desperate

McDonald takes artistic license as Nicky Crane (Jake Richards) meets Mosely (Matthew Baldwin), fascism incarnate, who seduces Nicky in more ways than one. Baldwin is electric and commanding whilst Richards is an unsure but intrigued teenager. Whilst gripping and absorbing, the blurring of homosexual awakening and right-wing radicalisation could be considered an unfair comparison, but others may read into the scene differently. Later on, we meet characters who seem attracted to Nicky’s ‘look’ in the form of Gabriel and Christopher (Kishore Walker) who display a nonchalant attitude to his skinhead identity. The play presents affronting examination of LGBTQ individuals who tolerate and entertain the hypocrisy of Nicky, even liking what he represents. Nicky can only exist as a Nazi if there are other gay people who choose to ignore or fetishise his tattoos and worldview. Walker multi-roles these characters with tension and levity opposite Richards who is terrifying and desperate.

A scene that provokes interrogation is that of Bird (Keanu Adolphus Johnson), a black gay man who Nicky corners in a club bathroom. The two men discuss Nicky’s crimes, which were unmentioned until this point, his targets including a nine year old. This is the only time Nicky and the audience is confronted with an overt rejection of right wing extremism and the impact of his crimes on victims, which bares noting. Johnson presents Bird as strong and secure in his queerness and in his rejection of Nicky in a powerful argument. The bravery of Bird is admirable, but potentially defangs the stakes of what Nicky represents. The final scene brings back Baldwin as Craig, a kind loving figure, starkly different to Mosely.

Foam tackles Crane’s life with depth and precision. In a story about neo-Nazis and hypocrisy, there was less focus on the consequences of his hate crimes and more on his strange double life and the people that populated it. The execution of the story is fascinating and the reflection on the punk and queer scene of the time is illuminating. The cast were superb and transfixing under Lliffe’s direction. Nicky Crane was a real man who committed hate crimes. There remains some discussion to be had about what the show was trying to say, and who got to say it. But It is clear that the play definitely invites these important conversations.

FOAM at the Finborough Theatre

Reviewed on 4th April 2024

by Jessica Potts

Photography by Craig Fuller

Previously reviewed at this venue:

JAB | ★★★★ | February 2024

THE WIND AND THE RAIN | ★★★ | July 2023

SALT-WATER MOON | ★★★★ | January 2023

PENNYROYAL | ★★★★ | July 2022

THE STRAW CHAIR | ★★★ | April 2022

THE SUGAR HOUSE | ★★★★ | November 2021

FOAM

Click here to see our Recommended Shows page

★★★

“you’ll go and you’ll have a good time, but there’s not much of a lasting impression”

Since its inception in 2015, Four Play has more or less consistently had a production somewhere in London – a feat that usually only Shakespeare and Chekhov achieve. Does that mean Jake Brunger’s play is of the same calibre? Alas, not quite.

Four Play’s plot is kickstarted when Rafe (Ashley Byam) and Pete (Keeran Blessie), getting some serious FOMO from being each other’s only ever partners for the past seven years, proposition their friend Michael (Declan Spaine) to sleep with each of them to get all their anxieties out of their systems, which ultimately exposes the cracks in their relationship, as well as the jealousies in the supposedly polygamous arrangement Michael has with Andrew (Marc MacKinnon). The play gently touches on the idea of monogamy and whether the traditions of heterosexual relationships can simply be transposed onto homosexual relationships, although if you’re seeking a deep and nuanced exploration then look elsewhere; this is mostly frivolous stuff.

Brunger’s script is full of quips about labradoodles and your nan watching porn, and can sometimes feel like it relies on them a little too heavily to mask a lack of substance. This especially shows in what are clearly some updates to the references in the script – an exasperating gag about Apple TV stuck out as a particular offender. The writing does find moments of really juicy tension – a dinner party with all four characters was a notable highlight, in which Rafe and Pete try to maintain a lie that they’re unaware Andrew already knows is a lie. The script also moves at an excellent pace for the most part, although the final few scenes outstay their welcome a little.

The performances are also a mixed bag – Byam is radiantly energetic as Rafe but he and Blessie struggle to find chemistry, while Spaine’s aloofness teeters into an unengaged apathy a little too often. MacKinnon finds a lovely amount of depth in Andrew, with a standout performance at the aforementioned dinner party, and some very poignant moments with Rafe. The actors overall feel somewhat over-directed by Matthew Iliffe, resulting in an inauthenticity that makes it clear when someone’s been told to sit down or move across the stage or gesticulate in a certain way, which is a shame as Carrie-Ann Stein’s modern kitchen set design establishes a genuine domesticity so effectively.

Four Play ultimately feels like fast food theatre. Like a trip to McDonalds, you’ll go and you’ll have a good time, but there’s not much of a lasting impression and there’s nothing to really chew on.

Reviewed by Ethan Doyle

Photography by PBG Studios

FOAM at the Finborough Theatre

★★★★

“The execution of the story is fascinating and the reflection on the punk and queer scene of the time is illuminating”

“Walker multi-roles these characters with tension and levity opposite Richards who is terrifying and desperate

FOAM at the Finborough Theatre

Reviewed on 4th April 2024

by Jessica Potts

Photography by Craig Fuller

Previously reviewed at this venue:

FOAM

FOAM

Above the Stag

Reviewed – 21st January 2020

★★★

“you’ll go and you’ll have a good time, but there’s not much of a lasting impression”

Since its inception in 2015, Four Play has more or less consistently had a production somewhere in London – a feat that usually only Shakespeare and Chekhov achieve. Does that mean Jake Brunger’s play is of the same calibre? Alas, not quite.

Four Play ultimately feels like fast food theatre. Like a trip to McDonalds, you’ll go and you’ll have a good time, but there’s not much of a lasting impression and there’s nothing to really chew on.

Reviewed by Ethan Doyle

Photography by PBG Studios

Four Play

Above the Stag until 22nd February

Previously reviewed at this venue: