Tag Archives: Peter Darney

Freud's Last Session

Freud’s Last Session


King’s Head Theatre

Freud's Last Session

Freud’s Last Session

King’s Head Theatre

Reviewed – 20th January 2022



“a passionate dialogue between two great minds, performed by two great actors”


“Do you count on your tomorrow’s? I do not” quips Dr. Sigmund Freud during the opening moments of Mark St Germain’s “Freud’s Last Session”. A BBC announcer has just echoed and crackled from the radio, detailing Hitler’s refusal to withdraw his troops from Poland. It is not the impending war, however, that gives the sense of ‘borrowed time’, but Freud’s terminal cancer that eats away at his health and his will to live.

Dr. Freud is addressing his question to C. S. Lewis who has come to visit him in his Hampstead home. It is an imaginary meeting: not improbable, but one that lets us into a riveting fantasy world to witness the conversations between two of the 20th century’s greatest academics. Lewis’s recent embrace of Christianity stands in stark contrast to Dr. Freud, whose atheist beliefs couldn’t be more different. The ensuing duel, in which words are the only ammunition, powerfully demonstrates the differences between the two men – in age, perspective and spirituality – but also how well matched they are. You can sense the mutual respect and appreciation as they each fight for their own intellectual (and in Freud’s case, literal) survival.

Crammed into the intimate back room of the King’s Head, the audience is a swarm of flies on the wall. Brad Caleb Lee’s design is part office, part practice room, juxtaposed with imagery from Freud’s mind splashed on the floor and the walls. This does not detract from the realism of the piece. Yet what essentially gives the play its authenticity is the impeccable performances from the two actors. Within minutes you forget you are in a theatre. Julian Bird, as Dr. Sigmund Freud, exudes the unseen bruises of a dying man while refusing to let his brilliant, active mind be dragged down by illness. An extraordinary performance in which every sinew is part of the role. Language and body language are inextricably married. Séan Browne’s C. S. Lewis is equally fascinating and steeped in authenticity. Arriving late for the meeting he is initially diffident and perhaps aware that he might be out of his league here. But as the couple lock horns his arguments reach higher ground. The cut glass (albeit chipped rather than clipped) English accent capture’s Lewis’s status perfectly. He has yet to write his famous works and is still finding his voice, but Browne wonderfully depicts a character who holds fast to the convictions of his beliefs.

Under Peter Darney’s direction, the script explores the beliefs of both men like a choreographed sparring match. Amid the air raid sirens, the two scholars debate religion, love, family, the existence (or non-existence) of God, the meaning of life and, of course, sex. Admittedly in an hour and a half you cannot dig too deep into the respective philosophies, but we get a pretty nutritious nutshell. “Things are only simple when we choose not to examine them”. Freud’s line is a reminder that we need to keep our attention focused. Low flying planes and radio bulletins punctuate the piece with reminders of the impending war, during which Browne betrays a shell-shocked vulnerability that adds further light and shade to Lewis’s puritanism. There is a touching, and graphic, moment when he tries to alleviate the physical pain Freud is in.

There is no real conclusion to the piece, but then again, the debate between believers and non-believers will never be resolved. Based on a passage from Dr. Armand Nicholi’s “The Question of God: C. S. Lewis and Sigmund Freud Debate God, Love, Sex, and the Meaning of Life” we come away a little more enlightened. “It is madness to think we could solve the greatest mystery of all time in one morning” says C. S. Lewis. “Freud’s Last Session” doesn’t try to solve it in an evening either. But it does offer up a passionate dialogue between two great minds, performed by two great actors. It’s not an easy text to get right but they achieve it in a very real way with performances as precise as they are natural.


Reviewed by Jonathan Evans

Photography by Alex Brenner


Freud’s Last Session

King’s Head Theatre until 12th February


Recently reviewed at this venue:
Beowulf: An Epic Panto | ★★★★ | November 2021
Tender Napalm | ★★★★★ | October 2021


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5 Guys Chillin’


Assembly Roxy

5 Guys Chillin'

5 Guys Chillin’

Assembly Roxy – Edinburgh Festival Fringe

Reviewed – 25th August 2017




“A true conversation opener”

This show is everything that theatre should be; avoiding all the stylistic cliches that permeate the vast majority of verbatim work, this brand-new production of 5 Guys Chillin’, directed and written by Peter Darney for their Edinburgh run, is the epitome of theatre activism. A true conversation opener, the audience was hugely varied in all aspects of diversity. Rather than preaching to the converted or condoning the complexities of addiction, the play serves to present all sides of the argument, provoking and engendering discussion around social change, oppression and drug abuse.

A piece that has been quietly building momentum over the last two years, this new production demonstrates the potential of art as activism and the breathtaking results of relevant realist drama. Following the story of five men attending a London ’chill out’, a term used to describe a social gathering of gay men fuelled by a cocktail of drugs and sex. Addressing the stigmas and issues associated with the chem-sex scene, the play navigates the borders between addiction and pleasure; the erotic and the dangerous; liberation and intimacy.

With the gritty realism of Danny Boyle, the production design fully exposes the ugly mechanics of the chem-sex scene, stoutly refusing to look away from it’s effects on those who participate, yet neither condemning nor condoning their actions. The set is minimal but naturalistic, with a host of associated paraphernalia scattered across the floor. This dedication to naturalistic detail, set against the beautifully acted monologic script, brings a textured realism to the production that proves an engaging combination of form and content. Woven together from a series of interviews, the script ricochets between comedy and drama, addressing the ecstasy and entropy of addiction with a quick-fire patter that hurtles through a cacophony of experience.

The visceral animalism of the physical performances, particularly in the more abstract movement sequences, engenders a sense of both eroticism and squalidity, leaving the audience sitting not in judgement of the characters, but in intoxication with them. Due to the strength of this connection between audience and actor, the piece would benefit form a smaller, more intimate, venue to take full advantage of the tactility of the performance.

Overall, this piece is an absolute must-see, and I highly recommend attending the post-show discussion for further insight. A brave and searing production, it’s content is certainly not for the faint of heart, but the relevance and accessibility of the narrative provides a vital insight into the metastatic world of Chem-Sex.


Reviewed by Tasmine Airey

Image is courtesy of the King’s Head Theatre




is at the Edinburgh Festival Fringe until 27th August


5 Guys Chillin’ was previously reviewed by thespyinthestalls.com at The King’s Head Theatre – Click here to read that review


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