Written by David Ireland

Directed by Finn den Hertog

Review by Dominic Corr

Lyceum Theatre: Tickets

A fraction of a degree away from our own believable reality, that’s the brilliance of David Ireland’s writing. Never so outlandish, it tips into fantasy, just enough of a distorted reflection to feel wholly believable, even if the audience doesn’t want to accept the flashes of comburant violence and actions their fellows can commit.

With Ireland’s new play, The Fifth Step, a reference to the AA programme step where those going through the steps open up about their negative actions, male role models, masculinities, judgements, and spiritual awakenings all take place in this encircling growth of revelations and humour as audiences get to know its characters intimately. The anticipation for Jack Lowden’s return to the stage was a coiled force throughout the early announcements of the International Festival – and it is delivered in every way in their performance as Luka. It is met with an equally terrific performance in Sean Gilder’s benign and articulate James, who volunteers to be Luka’s sponsor in their movements towards completing the steps of Alcoholics Anonymous and Luka’s sobriety from drink, fixations, and porn.

Twitching, spring-loaded, and unexpected in their erratic movements, Lowden’s is a captivatingly brilliant performance – one of a little boy in a man’s body, angry and ricocheting from place to place as he attempts to find some sense of composure, and perhaps a solid father figure in James. Meanwhile, Gilder carries the initially withdrawn role with a grounded control that gradually unravels in the play’s fascinating unravelling of masculinity – the pair gradually encircles one another, never entirely certain if they are aligned or prey.  Though adeptly directed by Finn den Hertog, the script’s building momentum, though never reaches a satisfactory peak, instead gradually falling into avenues of the predictable, something inherently unlike Ireland.

Suitably clinical, though certainly constructed with an unfolding ‘mind-space’ design. Milla Clarke’s rotating set is more a star vehicle for Lizzie Powell’s lighting, which expands the space and reinforces the mentality of the performances and character, from the amber-grease tint of a café to the dark yet spot-lamped gym. As the conversation becomes combustive, the tone and fracturing nature of The Fifth Step shows promise – as it devolves into a hallucinogenic spiral, one which gradually loses potency the closer it gets to its own spiritual awakening.

A primed, surreal two-hander, never too comfortable in one place, echoes Lowden’s expertly crafted movement directions (Jenny Ogilvie’s movement direction) as an alcoholic, unable to remain still – always shifting for the next moment but never lingering long enough to make a substantial impact. Two steps forward, three steps back, and two brilliant performances aren’t able to salvage an ending that begins to meander and lose the built momentum, finishing in a weaker position than its promising beginnings.

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