Unleashed Review: a humane outlook on the life of a dominatrix at Camden Fringe
- Emma Knott
- 2 hours ago
- 3 min read
16 August 2026 | 19:00 | Etcetera Theatre, London (Camden Fringe)
⭐⭐⭐ | PR - Invite
After spending the last few years making an annual trip up to Edinburgh Fringe, this year I found myself staying closer to home for my first Camden Fringe. It certainly fills the gap, with the same sense of discovery in the smaller venues of London. And Unleashed, presented by By The Bi Productions, is very much in-keeping with the Fringe spirit.
Written and performed by Siobhán Healey, Unleashed takes us behind the closed doors of a dominatrix's world, exploring her experiences with clients, as well as the judgement and shame that come from those closest to her. Directed by and co-starring Olivier Award-winner Nathan Dowling, the production seeks to challenge its audience, asking us to put aside preconceived ideas on sex work. To listen, and to resist our instinctual desire to judge.
The subject matter, the sexual content and high levels of audience interaction are designed to make viewers uncomfortable. The fourth wall is consistently broken to involve us in their world. This creates both a private and unpredictable atmosphere that suits its Fringe styling, although not all of this interaction has a clear purpose within the story.
The opening is certainly memorable, where Dowling asks audience members to put condoms on different-sized sex toys. A rather unusual way to begin a play. It involves us from the outset, though it doesn't contribute to the show's narrative. Beyond an extended introduction and method of buying time, there is no clear payoff from this moment. The intention to provoke a reaction is clear, but unfortunately it comes at the expense of disconnecting from the wider story.
Given the limited space of the Etcetera Theatre, the performers make impressive use of what they have, decorating the stage with a collection of props and costume pieces. Dowling plays a whole host of different characters, often with little more than a pair of glasses, a scarf or a change in accent. Each persona is recognisable and distinct, despite the costumed subtleties; there is something wonderfully theatrical about watching him transform before you.
Unleashed's visual commitment is hard to miss too. Dowling remains in full bondage attire throughout, even when playing other characters. And when he is not required onstage, he retreats to the corner, sitting quietly with a dummy in his mouth. The image is undeniably striking, perfectly capturing the show's willingness to embrace the eccentric that you wouldn't find in conventional, mainstream theatre.
Writing and starring in your own play is no small feat, particularly with material this personal and suggestive. Healey throws herself completely into the role, navigating vulnerable moments with confidence and conviction. She allows her central character to feel like a real person, rather than simply a representation of her profession, which is crucial to the evening's message.
Unfortunately, Unleashed's biggest problem is that it feels underdeveloped. Coming in at less than an hour, the production introduces a number of themes and ideas, but doesn't give itself enough time to properly explore them. Just as it begins to strengthen and we delve into the non-sensational aspects of the protagonist's life, it comes to an end as relationships are rushed. Though even when the writing misses the mark, Healey brings a powerful emotional centre and keeps us invested in her character's livelihood.
The central message of acceptance and non-judgement is a worthwhile one, although is could land with considerably more impact if it steers away from deliberate discomfort. In the moment, it is entertaining and engaging, but it takes up valuable time where the story needs to develop. But given this is an early try-out, there is plenty of ambition here given its limited resources.
With more clarity of narrative and fleshed-out characters, Unleashed has the promise for a powerful piece of live theatre. Between the commitment of writer-performer Siobhán Healey and the hugely versatile Nathan Dowling, it deserves the chance to return one day. It's run at the Etcetera Theatre is complete, though with a little 'whipping into shape', it may reach a higher potential.
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