Four Letter Words review - a kinky pandemic fever dream

Photo: Liverpool Everyman

Written by Hannah Greenstreet, Four Letter Words is as sexy as it is tragic.  

Gemma, an eighteen-year-old university student, explores the world of BDSM whilst confined to her bedroom due to COVID-19 restrictions. Her kinky endeavours result in her meeting Moira, an older, experienced woman.  

The set design was a subtle reminder of how lonely life was during the pandemic; there’s one bed which takes up most of the stage, with clutter dispersed beneath it. Plus, with a three-person cast, two of the actors playing multiple roles, it’s reminiscent of the COVID-19 support bubbles brought in by the UK government during the 2020 lockdown. It feels cramped, lonely and this is especially prominent when Gemma is nestled beneath her duvet (without her vibrator, by the way), upset and frustrated with the lockdown. Without in-person contact with friends or relatives, her bedroom feels like a prison.  

And while yes, Four Letter Words isn’t the first play to experiment with lighting to portray the internet (Lambslaughter, recently performed at King’s Head Theatre, did something similar), it did it without coming off as painfully millennial – a modern-day marvel, really. Emails, text messages and Facetime calls are projected on the wall behind the bed and either side of the room. It’s a fantastic addition, really; it meant that no one’s fat head was getting in my way. It’s palpable, too; yes, the actors are on stage, but you’re not watching them, you’re watching the screen. Admittedly, at certain points, I didn’t know if I was watching an adaptation of The Conjuring or a play about BDSM as the high-pitched, pinging voice and the images on the screen were so uncomfortable, I was nearly squirming in my seat.  

All that said, I don’t recommend bringing a prudish parent to this show; Mum might flatline on the front row, but Four Letter Words is terrific. It’s a raw, raunchy, and riveting exploration of abusive power-dynamics, set in a time where people were desperate for human connection.  

It’s true that the pandemic is over, but the play's core message is timeless: be careful who you trust online.  

At Playhouse Studio, Liverpool, until 18 April 2026.