REVIEW: FIVE at The Lion & Unicorn Theatre 12–16 May 2026
"Striking just the right balance between sinister and entertaining" ★★★★
Presented by Half Light Creative, FIVE is a sharp and unsettling psychological thriller that examines society’s fascination with true crime, notoriety, and the dangerous allure of getting too close to darkness. It’s a production that understands the power of restraint, wisely avoiding overcomplication and allowing the writing and performances to remain front and centre.
Written and directed by Lilwen Faulkner, the play follows Morris, a true crime podcaster who begins interviewing a serial killer imprisoned for strangling five people. Initially determined to uncover what makes the murderer tick, Morris gradually becomes drawn into the killer’s orbit over a series of increasingly intimate interviews. What begins as journalistic curiosity gradually mutates into obsession, as the boundaries between interviewer and subject blur and Morris’ own life begins to spiral dangerously out of control.
The dialogue feels natural and incisive, while the tension is allowed to simmer. The script is peppered with witty lines and dark humour, lending the piece an energetic pulse that prevents its heavier themes from becoming oppressive. There is a pleasing intelligence to the writing, particularly in the way it explores power, manipulation, and society’s voyeuristic fascination with violence.
The performances are confident and polished throughout. Filippo Brozzo charts Morris’ emotional unravelling with impressive subtlety, while Zak Rosen delivers a deliciously playful yet deeply unsettling performance as the killer. The chemistry between the two leads sustains the production’s tension effectively, creating a sense of creeping unease that steadily deepens as the story progresses.
Despite the production being largely static, Faulkner's direction creates a strong sense of rhythm and momentum, ensuring the piece always feels active and engaging. Visually, the production embraces simplicity; the stripped-back staging magnifies the performances and allows the audience’s imagination to fill in the darker corners of the story.
Where FIVE stumbles slightly is in its final stretch. A key revelation during the final interview feels rushed, lacking the emotional groundwork needed to make the moment fully convincing. In doing so, the production sacrifices some of the realism and careful psychological layering that the earlier sections establish so effectively. Still, these issues do little to undermine what remains a clever, gripping, and sharply performed piece of theatre.
Striking just the right balance between sinister and entertaining, FIVE proves itself a compelling exploration of obsession, intimacy, and the cultural fetishisation of murderers, elevated by confident performances and a production style that trusts both its material and its audience.
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