Review: F**KING SWANS, Omnibus Theatre
F**king Swans is refreshingly unapologetic in its approach to queer drama. In a landscape where queer stories are often expected to centre around queerness itself, playwright Elise Marra instead delivers a story about relationships, change, and the often messy process of holding on to yourself while navigating the people around you. The fact that these characters are queer feels entirely natural rather than the defining feature of the play, which is one of its greatest strengths.
The cyclical nature of relationships, regardless of gender or sexuality, is portrayed with an honesty that feels deeply relatable. Every character is carrying their own internal struggles, and the play captures the frustrations of communication, intimacy, and growing apart with real authenticity. When scenes land, they land hard. There are moments of genuine emotional impact that linger long after they end.
At the same time, the piece can feel a little unpolished and disjointed. The writing deliberately avoids giving us a single perspective to follow but in doing so, it occasionally struggles to create balance between its characters. We move between intertwined lives without ever fully settling into one viewpoint, and while that unpredictability is part of the show's appeal, a more focused structure would help bring the various threads together without sacrificing its edge.
The central relationship, played by Mikkie-Dene Le Roux and Siubhan Harrison, captures the exhausting circularity of conflict remarkably well. Their conversations often feel repetitive because arguments themselves are repetitive. However, there are points when that realism comes at the expense of momentum, leaving the audience feeling as though the story itself isn't progressing.
There are some beautiful directorial choices throughout. The parallels drawn between Harper's routines are particularly effective, and the purposeful use of silence becomes essential in understanding her later decisions. A standout moment comes during the birthday decorations scene, which is both funny and emotionally revealing, although it feels somewhat detached from the rest of the play around it.
The secondary couple, Carol and Lindsey, present a more significant challenge. Their storyline is important enough to warrant real investment, yet we never quite get to know them deeply enough to care in the same way we do about the central relationship. They're entertaining, particularly Kelly Lamor Wilson's Carol, but the characters remain frustratingly underdeveloped.
Ultimately, F**king Swans is a play full of strong moments, sharp observations, and genuine emotional truth. What it lacks is structure and a clearer sense of purpose in how its stories are woven together. The bones are absolutely there, though and they're proud. With some tightening and a more focused narrative lens, this could become something truly special.
*** Three stars
Reviewed by: Beatriz Ferreira
F**king Swans plays at London’s Omnibus Theatre until 13 June, with further info here.
