The vibrant Edinburgh Fringe festival once again serves as the stage for compelling new works, prominently featuring “Paldem,” the highly anticipated debut play from accomplished actor David Jonsson, renowned for his roles in “Industry” and “Rye Lane.” This theatrical venture daringly explores the unconventional journey of Kevin and Megan, friends whose lives are irrevocably altered when an accidentally recorded one-night stand propels them into the lucrative, yet ethically ambiguous, world of OnlyFans.
The play’s foundational premise, delving into the rapidly expanding landscape of homemade adult content and the monetization of personal intimacy, resonates deeply with contemporary societal discussions. Jonsson, a recognized BAFTA Rising Star, demonstrates a perceptive understanding of human dynamics in his writing, attempting to dissect the intricate complexities of modern relationships within the digital sphere.
Under the direction of Zi Alikhan, another talent associated with “Industry,” “Paldem” presents an ambitious stage design. The set fluidly transforms between a domestic living room and a photographic studio, enhanced by a central screen projecting videoed images, effectively blurring the boundaries between private moments and public performance.
However, despite its inherently provocative subject matter and bold setup, the play’s core sexual drama struggles to achieve its full impact. Critics have noted a distinct gingerliness in its execution, which ultimately restrains the narrative. This cautious approach prevents the powerful themes and underlying ideas from being thoroughly explored or fully realized, leaving the audience with a sense of unfulfilled potential.
A notable weakness lies in the underdeveloped character backstories and motivations. Kevin, whose profession as a photographer is briefly mentioned, and Megan remain largely undefined, making it challenging for the audience to fully connect with their emotional arcs. Furthermore, the compelling OnlyFans drama storyline, while brimming with potential for poignant social commentary and relational insight, regrettably lacks a clear progression and fails to leverage its inherent dramatic possibilities.
Ironically, the depiction of intimate scenes on stage often evokes a sense of sterility, perhaps a deliberate artistic choice to encapsulate the inherent awkwardness and emotional detachment that can characterize homemade pornography. Despite assurances within the script that the couple shares a profound physical connection, the on-stage chemistry between them often falls flat, diminishing the credibility of their intimate portrayal.
The narrative gains noticeable momentum and moments of unexpected humor with the introduction of a second couple, which subtly shifts the play’s tone towards satire, adding an intriguing layer to the unfolding dynamics. This pivot, while adding comedic relief, also impacts the play’s consistent thematic focus.
Amidst these evolving relationships and tonal shifts, “Paldem” offers a few insightful glimmers, such as Kevin’s fascinating observation about deriving pleasure from watching Megan watching him enjoy himself on screen—a perceptive commentary on “circles of desire” and the performative nature of contemporary relationships. This David Jonsson play, while uneven, certainly provides ample fodder for a compelling theatre review and highlights the ongoing evolution of fringe festival works tackling complex social themes.
