Charlie is trying to change his ways. He is fed up of his endless string of meaningless sexual encounters and has instead decided to opt for celibacy.
His friends Sophie and Ben are incredulous over this change of heart, with Ben in particular questioning Charlie’s real motivation. Limerence Productions have been bringing queer writing to the fringe since 2017 with some success, but Fudge is problematic on several levels.
Despite the realism aspired to in the set and characters, very little of the play’s dialogue rings true. There are a few laughs along the way, but there’s something oddly clinical about how the jokes land and how the situations are structured.
Fudge pays lip service to issues of celibacy in the gay community, promiscuity and alcohol abuse but nothing is explored too deeply and nothing is resolved.
It’s difficult to tell if this is an issue with Hallam Breen and Phoebe Simmonds’ fast-paced direction or a lack of chemistry between the three protagonists.
Somewhere beneath the hubris there is an unrequited love story taking place between Jonas Moore’s indolent Charlie and Ned Costello’s fickle Ben. The problem is that it’s too thinly drawn to engage with effectively and lacks any real conclusion.