In medieval folklore, a succubus is a female demon that appears in men’s dreams to seduce them. A young woman is seized by a new kind of hunger. Her dismissive GP blames hormones; the 111 dispatcher does too. But this appetite is different. Georgina Collins's playwriting debut is a thrilling horror comedy that could only be described as Hannibal Lecter and Fleabag’s degenerate lovechild who’s been obsessed with Promising Young Woman from a young age.
Directed by Grainne Robson, the piece is deliciously twisted and relentlessly entertaining. Collins is strangely, inappropriately, and alarmingly endearing as she ecstatically chomps on bloody meat. The monologue is aptly descriptive when it comes to foodstuffs, but it also examines the close association and the direct connection between sex and violence. The manosphere and a variety of toxic male rhetorics are the centrepiece of her reflection.
As the character evolves in her taste, her guilt subsides and her murders become more targeted. The script is captivating in its straightforward candour, but slightly imperfect in its logic. It’s a negligible flaw. More than anything, the production is fun! Its provocation is witty and never too convoluted; she satirises murder but takes feminism seriously. Concurrently, Robson’s direction exacerbates the black humour and allows the gore to linger freely.
The fake severed head and chopped limb might look out of place, like they’ve come directly from the Halloween section of a random shop, but they add to the general absurdity. This is one for the funny, angry women who are tired of seeing men get away with being awful. It’s an exciting first foray into writing, and Collins has immediately landed on our list of those to watch.
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