Review: FOUR PLAY (King's Head Theatre)

Review by Daz Gale

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Much has changed in the world in the ten years since Jake Brunger’s FOUR PLAY received its world premiere, particularly when it comes to the LGBTQIA+ community and attitudes towards them, though it’s safe to say not every change has been a positive one. Similarly, attitudes towards relationships have also shifted, and while it may have seemed slightly taboo to mention any kind of relationship that is not completely monogamous in 2015, it feels like these conversations are had much more in 2025. With that in mind, it feels like a great time to bring back the play in this current climate, complete with tweaks and updates to reflect changing language and sensibilities of queer culture. Though it was well received upon its initial run, would FOUR PLAY sustain my interest until the climax, or would it leave me longing for the main act?

Created with the intent of making a “state of the nation gay play”, FOUR PLAY brings conversations that may be had behind closed doors into the spotlight, telling the stories of two very different couples. There’s strong and stable couple, Rafe and Pete, who have thus far been exclusive to each other but want to spice up their relationship after a seven-year itch by proposing a night of passion each with their friend Michael. He is in an open relationship with Andy, though they have strict rules about who they are allowed to sleep with, and this certainly breaks at least one of them. With secrets threatening to be exposed, the fallout from these nights risks changing the relationship between both couples forever.

Jake Brunger’s writing is refreshing in its exploration of queer culture and relationships, shining a light on those relationships that are certainly underrepresented both in conversation and in plays such as this one. No matter your thoughts or experience on monogamy, there is something beautifully accessible and open about FOUR PLAY, with some key themes that are relatable to pretty much everybody, regardless of sexuality or your relationship preference. There’s vulnerability, truth, and betrayal as lines are crossed and the conversation turns to where boundaries should lie, and if it really is possible to ever have no strings attached.

Brunger’s writing is packed with intelligence throughout, but also manages to be riotously funny, for the most part. Some brilliant one-liners and character traits lead to a play that will have you howling with laughter… for the first half, at least. Running at a singular act of 90 minutes, there is a definite shift in tone in the second half as the repercussions play out. Following what may be the most awkward dinner party ever seen on stage (so awkward, they didn’t even get to have dinner), a far more sensitive and somber exploration brings the heaviness of the themes of truth and betrayal to light. Written delicately and sensitively, I found myself truly gripped at this turn of events. What had previously been a night of meaningless fun suddenly had meaning, and I was truly invested in the richness of the writing and all its twists and turns.

Every bit as exquisite as the writing is Jack Sain’s intricate direction. Though the King’s Head Theatre is a very intimate space, it has proven itself to be incredibly versatile and ambitious with its productions. FOUR PLAY uses the space perfectly, confining the four characters to one small part of the stage (for the most part), heightening the intimacy and connection with the story. Great care has been taken to bring each of the four to life, with a detailed approach to how they carry themselves - their actions and movements prove just as integral as their words, be it Rafe’s neuroses or Andy’s looks that can paint an entire picture.

One inspired choice sees the same song played in two consecutive scenes with two different characters, reflecting the disparity in their personalities. A dance remix of the song represents the more rough and ready personality of Peter, while the more sensitive Rafe is represented with the original, more conventional ballad version. This may seem simple, but boy, is it effective. A truly inspired choice that shows a real intuition for these characters and how best to convey their personalities and ideals to the audience of strangers. Some shows struggle with not fleshing out their characters enough, leaving them feeling rather one-dimensional. FOUR PLAY ensures this is not an option at all, telling you everything you need to know about them… and so much more.

Peiyao Wang’s set design uses no bells and whistles to give a bare-bones state to represent different settings, though this comes alive with a fantastic use of lighting transforming the stage and representing the changing situations and tone as the play progresses, with one beautiful moment seeing the light gradually dim, representing the fading embers of a particular relationship. This is complemented by Julian Starr’s faultless sound design, with original music from Benedict Cork, and a smattering of classics (I approve of any show that includes a bit of Janet Jackson), ensuring FOUR PLAY always sounds every bit as fabulous as it looks. A special mention also has to go to a great use of movement from Charlie Martin, setting the bar high in the opening moments of the play with a fantastic use of what I can only call "ballography".

The cast of four may be instantly recognisable from their various musical theatre roles over the years, with cast members from Mean Girls, The Spongebob Musical, Why Am I So Single? And Your Lie In April uniting to showcase they are every bit as strong when starring in a straight play… well, not so much straight.

Lewis Cornay is an immediate standout as the sweet and lovable Rafe. More innocent than the other characters, Cornay delivers a wonderfully charismatic performance that wins you over and melts your heart from the opening minutes. There is a childlike naivety to the character of Rafe, and Cornay navigates this beautifully against the backdrop of being thrown into a situation he may not be completely comfortable with. Cornay’s charisma extends to his interactions with his fellow actors, displaying differing dynamics and immeasurable chemistry with each of them in a true testament to his skills as an actor and remarkable stage presence.

Zheng Xi Yong initially stays predominantly in the background as Rafe’s partner, Pete. Once he does get a chance to open his mouth, however, his presence is felt. Though he is opposite to his partner in many ways, the love they have for each other is one of the more beautiful moments in the play, with Yong delivering a truly sweet and moving monologue fantasising over their eventual wedding. His most electric scenes come when playing opposite Daniel Bravo, who shows a very different side to him as Michael in a performance that opts to be more understated while still proving incredibly memorable.

The cast is completed by Jo Foster in a standout performance as Andy. Though they do not form a huge part of the story at the beginning, their role and presence increase as the play progresses, culminating in a jaw-droppingly good sequence, showcasing Foster’s sensational talents. As the fallout from the revelations takes place, Foster controls the narrative and proves to be a dominant presence in an uncomfortable prolonged scene with Bravo. Feeling raw, emotional, and very real, I found myself struggling to take my eyes off of Foster as they embodied all of the core themes of the play in one explosive moment, expertly played.

Though its title and subject matter may give pause for thought, FOUR PLAY achieves just the right balance in its exploration, leaving much to your imagination and never being overly graphic or explicit. While lines may be crossed in the relationships in the play, lines are never crossed in the writing, leaving a fantastically accessible production full of heart, humour, and humanity. When reviewing a play, I am always looking for something that makes me feel, and that is what pushes me up to give it full marks - to say I felt throughout FOUR PLAY would be an understatement. Relatable and realistic, I found my heart bursting and breaking at moments throughout in a play that knows how to satisfy you completely, while leaving you longing for more (in the best possible way). FOUR PLAY will give you a good night and leave you wishing you could experience this for more than one time only.

FOUR PLAY plays at the King’s Head Theatre until 17th August. Tickets from https://allthatdazzles.londontheatredirect.com/play/four-play-tickets

Photos by Jack Sain