Written and created by BAFTA winner, David Jonsson, Paldem is a daring and provocative Fringe debut that boldly ventures into the world of amateur pornography, digital fame, and performative intimacy. Premiering at Summerhall, the play unfolds as an “anti‑romantic comedy” exploring themes of race, desire, artistic ego, and online commodification.
The story centres on Kevin (Michael Workeye) and Megan (Tash Cowley), former lovers, who reconnect one night and end up having sex. What neither expects is that they’ve accidentally recorded the whole thing. But when they watch the footage back, they’re surprised: it’s hot, they look great, and the dynamic works. From there, an idea is born. In today’s society—where everything is monetisable and nothing is too intimate for content—they realise they can build something real (and lucrative) by launching their own OnlyFans channel.
The result is rapid success: their first video goes viral, they rise to number one in the “interracial” category and number two for “amateur,” and soon they’ve gained over 112,000 subscribers. Their story cleverly captures the absurd mechanics of algorithm-driven fame, the appeal of authenticity (or the illusion of it), and the performative layers we add to sex when it becomes content.
Before the show even begins, audience members are asked to place stickers over their phone cameras—an act both precautionary and playfully theatrical. It sets the tone for what follows: a production deeply concerned with watching and being watched
Kevin, notably, doesn’t just see this as porn—he sees it as cinema. He talks about his ambitions as a filmmaker, as an artist. His framing of their collaboration as creative rather than purely sexual becomes a point of tension and complexity. Is this expression or exploitation? Art or opportunism?
And yet, for all its conceptual richness, Paldem falters in execution. The simulated sex scenes—while never crossing into the explicit—are awkwardly staged and technically unconvincing. Rather than drawing the audience into the intimacy or emotional risk, they create distance. It’s not a question of prudishness; it’s a question of theatrical coherence, and this is one line the show never quite balances.
The chemistry between Workeye and Cowley—so crucial to the premise—is inconsistent. Despite the story’s foundation on their connection, their dynamic on stage feels tentative and often underpowered. When two additional performers join them later in the show—transforming the duo into a filmmaking foursome—the narrative risks spiralling. What could deepen the story instead clutters it.
The dialogue wavers between sharp and stilted. Themes like race, power, and control emerge but are underdeveloped, introduced too late or skimmed too lightly. Structurally, it feels like a piece still finding its shape.
Still, Paldem has real ambition. It’s a Fringe show unafraid of tackling uncomfortable questions, and its central premise—of sex as art, content, commerce, and control—is culturally urgent. With further development, more grounded performances, and tighter storytelling, this could grow into a powerful piece of theatre.
21:00 Daily (except 12th and 19th) Till 25th August
https://www.edfringe.com/tickets/whats-on/paldem
Reviewer: Greg Holstead
Reviewed: 6th August 2025
North West End UK Rating: 3
Running time – 1hr