The Fifth Step

@SohoPlace

Playing until 26th July 2025

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Photo credit: Johan Persson

The Twelve Steps Programme is at the core of Alcoholics Anonymous (AA), a support group to help alcoholics achieve sobriety. Having joined the programme, Luka (Jack Lowden) is paired with his sponsor, James (Martin Freeman), who explores Luka’s addiction, loneliness, stimulating his spiritual awakening in the process. As Luka progresses through the early steps, the intimacy between the two grow, tension builds as secrets are revealed and both Luka and James must confront each and themselves on their respective journey to sobriety.

David Ireland’s script exposes the concept of the twelve steps programme, the challenges associated and the vulnerability one must be willing and embrace as they build their relationship with their sponsor. The play explores the concept of faith, and James prompts Luka to place his faith in whatever religious deity or a conceptualised being that he wishes, even if in a paper cup if that is what he wants. It is clear that James and Luka are on very separate pages as Luka begins to make fun of the paper cup analogy, taking things in a much more literal sense. Similarly, Luka interprets what James says at face value, forming the basis of much of the comedy in this play. The Fifth Step has built an exceptionally convincing, engaging and fast pacing narrative to draw in the audience as they witness the evolution of the characters’ relationship.

The paper cup, however inconsequential as we may think, maintains a consistent presence, it is the thing that both characters reach out to, use and throw around as the story progresses. It is always watching observing and at your time of need, there to provide succor, all the way to the end. This seems like too much of a coincidence and I would like to think that this is a clever creative choice by Director Finn Den Hertog and Set and Costume Designer Milla Clarke.

Despite the story’s serious undertone, Ireland has introduced ample humour. While this provides welcomed respites in this one-act play, they also feel a bit heavy handed, undermining the weight and seriousness of various moments in the play, for example when James believes that Luka has been lying and had a drink, and when Luka confronts James about his hypocrisy and past wrongdoings.  

Lowden and Freeman create a genuine and intimate two-hander with characters that are fundamentally polar opposites of each other. Freeman’s James is calm and composed, even when he knows or suspects Luka is lying and pushes him into confession. Below this calm exterior lies a more calculating and distrusting side, Freeman captures the nuances of these traits, keeping the audience on their toes, always looking out for his motivations and the secrets he is hiding.

Lowden on the other hand, suffers from loneliness and insecurity, fidgeting with his hands and legs from the start, maintaining it throughout and gradually becoming animated and excitable, but more confident as he finds a Christianity group and places his faith in God. The transition was gradual, but noticeable and slick, and as an audience, you can’t help but become hyper focused on Lowden, who exudes charisma in abundance. It is as if Luka is a roaring torrent and James is the dam that stands in its way, placing the constrain on it and shaping it into a form that it finds pleasing and acceptable.  

Though James claims he has moved on but is constantly worried that his past will come back to haunt him, Luka on the hand, though still new on his journey has started to move past the help he gets from his sponsor, realising that the relationship between himself and his sponsor has fundamentally changed. The Fifth Step is a story about trust, power, reflection and acceptance, creating an intricate balance between the one seeking help and the one providing it, instilling and consolidating the concept of change and moving on.

Creatives

Playwright: David Ireland

Director: Finn Den Hertog

Set and Costume Design: Milla Clarke

Lighting Design: Lizzie Powell

Sound Design and Composer: Mark Melville

Movement: Jenny Ogilvie