Review: Smoke, Omnibus Clapham ****

Alexis Gregory in Smoke
Photo: Martin Perry

Review: Smoke at Omnibus Theatre, Clapham

Theatre as a Mirror to a Hidden Crisis

Theatre has a unique capacity to act as a mirror on unseen corners of our society and Alexis Gregory’s Smoke is a profound example of this power. Currently playing at the Omnibus Theatre in Clapham as part of a national tour, the production is a stark, unflinching look at the intersections of chemsex, mental health, and the digital age within the LGBTQ+ community.

The production is notable for its deliberate lack of traditional stagecraft. There are no elaborate sets or dramatic lighting shifts to hide behind; instead, we are presented with just a chair, a phone, and a performer. This minimalism places the entire weight of the narrative onto Gregory’s performance and his script. It is a vulnerable and affecting display that evocatively charts a descent from logical thought into the fractured world of paranoia.

Gregory’s writing is exceptionally skillful. He leads the audience through a narrative that initially feels grounded, before reaching a subtle but clear turning point where we realise the protagonist’s grip on reality is no longer secure. It raises vital questions about our modern “screen” world: does our constant digital connectivity actually foster a deeper isolation? As the character spirals, we are left to wonder if we can truly believe anything we see through the lens of a device.

Alexis Gregory in Smoke, Omnibus theatre by Martin Perry — Alexis Gregory in Smoke
Photo: Martin Perry

The performance is intensely intimate, with Gregory moving through the audience to bridge the gap between performer and observer. This connection is vital because the themes of bereavement and drug use are not abstract. Recent data from the Office for National Statistics (ONS) reveals a staggering “rainbow gap” in mortality, with LGBTQ+ people facing a 2.8-fold greater risk of drug poisoning deaths than the heterosexual population. In Smoke, this reality is personified with heartbreaking clarity. While we hear of the boyfriend and his family, the protagonist’s own isolation remains a heavy, palpable presence.

At the matinee attended, the post-show panel hosted by the non-profit You Are Loved (YAL) was particularly illuminating. Discussions regarding multi-agency support and NHS funding channels brought a necessary real-world context to the evening. The recurring theme of shame was explored with great sensitivity, especially when an audience member shared his own experiences. It underlined that while suicide is now the second leading cause of death for LGBTQ+ adults in England and Wales, the silence surrounding it is often what proves most fatal.

While the subject matter is undeniably difficult, the insight gained is invaluable. Alexis Gregory has created a piece that is not just a performance, but a catalyst for vital conversations. This is theatre as a lesson, and while it may not be a “comfortable” night out, it is a deeply necessary and rewarding one.

[Thank you to Chloe Nelkin Consulting who provided gifted tickets in exchange for an honest review.]

Context: The “Rainbow Gap” in UK Mortality

The You Are Loved (YAL) initiative, which partners with this tour, was founded by Marc Svensson in response to the disproportionately high rates of premature deaths within the LGBTQ+ community. According to official national figures released by the ONS in early 2026:
Overall Risk: LGBTQ+ adults have a 1.3 times greater risk of death from any cause compared to their straight counterparts.
Cause of Death: Suicide is the second most common cause of death for LGBTQ+ people, accounting for 7.1% of all deaths in this group.
Substance Misuse: The risk of alcohol-related death is nearly twice as high (1.8 times), while drug poisoning deaths are nearly three times as high (2.8 times) as in the heterosexual population.
Younger Generations: The disparity is acute for those aged 16 to 24, where 45% of all deaths in the LGBTQ+ community are attributed to suicide, compared with 27% in the straight population.

AGE GUIDANCE: 16+

Smoke contains strong language and references to homophobic assault, drug misuse, sexual abuse, grooming, grief, mental health issues, psychosis, stalking, and suicide.

INterview with Alexis Gregory:

You can read the Red Bus interview with Alexis Gregory here.

TOUR DATES:

From the Omnibus Theatre to stages across the country, here is where you can catch this powerful production and its interlinked community panel. Grab your tickets directly at the official venue links below: