Photos by Marc Brenner

The Flea: A Brilliantly Gripping Queer Tale of Victorian Scandal

Set during the Cleveland Street Scandal of 1889, The Flea at The Yard Theatre peels back the layers of Victorian society to reveal the hidden power dynamics at play. Written by James Fritz and directed by Jay Miller, this production takes a sharp, uncomfortable dive into a world where reputation is everything and secrets are deadly. At the centre of it all is Charlie Swinscow, a telegraph boy with a dangerous secret that could bring down the elite of Victorian England.

TomĂĄs Azocar-Nevin (also playing Bertie Prince of Wales) delivers a nuanced portrayal of Charlie, the young man at the heart of the scandal. There’s a constant tension in his performance – one minute vulnerable, the next calculating. It’s Charlie’s relationship with Emily Swinscow, played by Breffni Holahan, that gives the play its emotional punch. Their interactions are electric, a push and pull of family and need that keeps you guessing who’s really in control. Holahan (also playing Queen Victoria) is fierce as Emily, balancing her vulnerability with moments of steely determination.

Stefan Race also impresses in their dual roles as Arthur Somerset and Henry Newlove. Their portrayal captures the inner conflict of characters weighed down by privilege and shame, giving the production an emotional undercurrent that hits hard without being overstated. Race knows when to hold back and let their characters’ vulnerabilities seep through, making their performance quietly powerful.

It’s a Queer scandal that threatens to topple empires – a thrilling mix of power, deception, and secrets.

Aaron Gill slips seamlessly between Hanks, Barwell, and Euston, adding layers of intrigue to the unfolding scandal. Will Bliss rounds out the cast with quiet menace in his roles as Abberline, Hammond, and Gladstone, each character bringing a sense of looming threat and control.

James Fritz’s writing is taut, and while the play dives into a historical scandal, it’s the emotional mess that really drives The Flea. The characters aren’t just protecting their reputations – they’re fighting for survival in a world where one wrong move can cost you everything. Jay Miller’s direction is deliberately slow-burning, allowing the tension to creep up on you until it’s nearly unbearable. By the time the play reaches its crescendo, the audience is fully caught in the web of secrets and lies.

Naomi Kuyck-Cohen’s minimalist set design keeps the focus on the characters and their tangled relationships, with Josh Anio Grigg’s sound design and Joshua Gadsby’s lighting heightening the unease. Gino Ricardo Green’s video design blurs the line between reality and paranoia, mirroring the characters’ spiralling control.

Sung Im Her’s movement direction brings a fluid, almost dreamlike quality to the production, while Lambdog1666’s costumes perfectly capture the oppressive formality of the time, subtly hinting at the chaos brewing beneath.

Final Thoughts ★★★★★

Would I recommend The Flea? Absolutely. It’s a brilliantly gripping production that explores the raw edges of power, control, and vulnerability in the Victorian era with intensity and nuance. Featuring a strong cast and standout performances, it captivates you from start to finish. If you’re after theatre that leaves you thinking long after the lights go out, The Flea is simply unmissable.

Playing at The Yard Theatre until 30 November 2024.

Disclaimer: A complimentary ticket was provided in return for an honest and unbiased review.

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