What Happens When Brit Playwright Chris Thompson and His Foreskin Walk into a Theater?

"Is there anything more attractive than talent?" Brit playwright Chris Thompson asks this question, both seriously and facetiously, in his hit podcast, "Two Foreskins Walk into a Bar," which has been adapted into a one-man stage show starring Thompson.

The podcast is a bold, balls-out (often-literally), and brazen account of one writer's journey towards sexual liberation and empowerment. It's been called the queer "Fleabag."

The play follows the podcast's story as the character Chris (not-so-loosely based on Thompson) journeys to New York City, where "you can be a slut... for 90 days without a visa," after his relationship of 10 years falls apart. In the Big Apple of iniquity, proud-bottom Chris seeks connection and just plain dirty (in the good way) sex. And he finds it, over and over, in all the nooks and crannies of the city. But he also discovers some uneasy (and easy) truths along the way.

This hilarious show got its start at Club Cumming and world premiered at the 2023 Queerly Festival, presented by FRIGID New York. It was performed in mid-June, but there's a second opportunity to see the piece on July 1st at 3pm at the Kraine Theater (85 E 4th St, New York, NY 10003) and online via livestream. Tickets ($25; $20 streaming) are available for advance purchase at at this link.

"Two Foreskins" is being developed for TV by Clapperboard Studios in the UK, adapted by Thompson, and retitled "Uncut."

Thompson was a social worker for 12 years before fully committing to writing for the stage. His eclectic plays include "Dungeness," "Carthage," "Of Kith and Kin," "Albion," and "Burn," tackling topics such as the mistreatment of LGBTQ+ youth, the risks inherent in belittling the working class, the societal influence of social workers, and the realities of same-sex parenting. Visit his website for more on his work.

EDGE recently had the pleasure of speaking with the funny, clever, and downright sweet artist.

EDGE: The podcast is hilarious, insightful, and slightly subversive. You don't pull any punches. Would you say a certain fearlessness defines your work?

Chris Thompson: I really appreciate your response – it's kind of what I'm going for. There's a fearlessness that's grown over time. I'm past caring, and I don't give a shit. So much of my life, as a gay man, has been subconsciously framed around asking permission... I grew up in the UK and campaigned for the law to change for the age of consent, the right to marry, all of the things we've been through, so I'm very tuned into subconsciously going, 'Oh, I need permission to do this.' But actually, no! So, this is the most fearless I've been, and there was a bit of fear when I put it out. But that has only been eliminated, because I just feel so overwhelmed by the kindness and the response. It's not everyone's cup of tea. I totally get that. [Laughs]

EDGE: I'm curious about the genesis of the project and what made you want to do it as a podcast?

Chris Thompson: During COVID, I got bowel cancer. I'm in remission for Stage Four bowel cancer. Everything's good at the moment, but I really got to thinking, what am I going to leave behind?... So, I kind of rose myself from the dead and gave back several TV projects... and I really drilled down to getting out of the business side of it and really focusing back on my voice as an artist. This really was about putting myself out there in a way that I hope speaks to people. It was also about just breaking through some of the structural elements of the industry. And, again, getting out of the industrial complex of gatekeepers and permission... This was about me, speaking directly to my audience. Writing it as a podcast was the easiest way to do that, because you can just do it. And then it spiraled from there.

EDGE: I know people want to know exactly how autobiographical the piece is?

Chris Thompson: That's my favorite question. The answer to that depends on who I'm talking to. If I'm talking to my dad, I'm like, 'Oh, it's all fiction.' But actually, it's more true than I would like to admit. It's 98-99% true. Things that have been changed are people's names and some order of events... But, yeah, it's mainly true... There's a couple of things that have been heightened, a couple of things that have been embellished, but not that much. I don't know if that's good or bad.

EDGE: Can you share a little about why you adapted it into a one man show?

Chris Thompson: When I got to the end of the first season, I had actually done a couple of readings of it at Club Cumming, down on the Lower East Side... I was terrified... But it was really great to hear it with a live audience and to get the call and response... and then, when I got to the end of series one, I was like, "This is a complete narrative arc and there's enough catharsis," and I thought, "Oh, well what do you know, I've gone and written another play!" Then I had to overcome this barrier of, "What you mean I'm gonna stand up and do it? Are you insane?" Not my natural place on stage... And the adaptation has been about homing in on the drama, and explanation kills drama... so, really focusing on the propulsive momentum of the story, and homing in on one or two relationships with a bit of laser focus.

EDGE: I saw on your Instagram page the "Faggots" book cover, and "Two Foreskins" reminded me of Larry Kramer's book. I'm assuming you were affected by it.

Chris Thompson: Yeah, absolutely. And it's a book I read very quickly, because it's also not the greatest piece of writing. You have to devour it in one go. It's hilarious. And it's horrifying, because you think, "Oh, boy, we haven't changed.'" I'm also fascinated with the criticisms that Larry Kramer came into with his slight prurience and negativity around sex, which I think was slightly mischaracterized... his saying, "Maybe we need to not have sex" during the early days of HIV... It's such a funny book, and the tone of it is slightly elevated. It's really wry... I absolutely love it.

EDGE: So, you're a proud bottom, and we don't see that often enough.

Chris Thompson: [Laughs] I've been through that journey of saying, "Oh, I better say versatile," because of some kind of crisis of masculinity.

I take it up the ass and I love it, so I've got nothing to apologize for about that. And it's a great thing. I think technically, if you were in a long-term relationship and it was monogamous. I wouldn't rule anything out... But, yeah, I've really owned that and love it.

EDGE: It comes across in the podcast. [Laughs] I love that Chris is a proud slut, because I look back at my slut days with pride, and I advise gay men to just enjoy sex.

Chris Thompson: Yeah, you'll never look back and regret being a slut. I was in Key West this time last year – those old-school clothing-optional resorts and that history, I live for it... it's just so liberating. You're meeting couples, and it's a real leveler, because there's all different body types. I've done both. I've done chapters of monogamy, and I've done chapters of slut. I've always focused on the good bits of both of them... I think when you've been a slut for so long – I don't feel I've got any unfinished business. [Laughs] So, I love what you're saying about being a slut – obviously, we're using [that word] in a very positive way... You'll never regret being a slut.

EDGE: Are there any stories you felt were too outrageous to tell? And could you maybe share one?

Chris Thompson: ...Oh my god, yeah, the thing that I really want to put in is when I went to Berghain, that club in Berlin, and we went on the sportswear night... And my God! I wasn't drinking at the time, so I just did the whole thing sober. And I wore my jock strap and my soccer kit. And it was like "War and Peace," because it was November in Berlin, and there's one door that you're allowed in, so there's hundreds of men trying to get in... and people were fighting and pushing and shoving. That's the war part. And then you go through the door and everyone's fucking, like, oh, everyone's happy. We love each other now.

It was like a comet was falling to Earth and we all knew this was our last night on the planet. And it was so debauched and wonderful, and there was no shame. It was really fascinating... Everyone's doing what they want to do. There's all different types of bodies. I took so many dicks, it was unbelievable.... And I waddled home at four in the morning, sat at McDonald's with my jockstrap in my pocket, like, "Oh, I could probably get married now." I also thought, "I'm not sure I ever need to do that again... That was one of the best nights of my life, with no drugs, no alcohol, just gay men, including trans gay men, just having sex and fucking and loving each other." Just so, so wonderful. And I was on my hands and knees with a lot of other guys, just fulfilling my duty. [Laughs]

EDGE: Tell me about the TV adaptation, "Uncut."

Chris Thompson: The adaptation came about from people catching on to the podcast, because the podcast took off in in a in a big but humble way. It's not like millions and millions, but it's big enough that they were like, "Oh, okay, that's good"... People call it the gay "Fleabag" quite a lot. That's one of the reviews I get quite a lot, which is lovely to hear. That has been a good entry point to the commissioners... It's a studio in the UK that have taken it on, interestingly. So now the next thing to do is to pitch it to broadcasters and get other people into the partnership. So, that's where we're at.

EDGE: And who would you love to play you?

Chris Thompson: Oh, my God, that's such a good question. Because I'm not playing me... I really like actors like Jonathan Bailey, because they're not afraid to be vulnerable and they can laugh at themselves. I like Jonathan Groff, those kinds of actors that that can actually get a bit messy and don't need to be pristine all the time...

EDGE: Russell Tovey.

Chris Thompson: He would be great. Russell Tovey would be fantastic. There's so many amazing actors that could do this. I'm also interested in exploring whether the character of Chris would withstand being performed on stage without me, and if there's a longer term life. My ambition for the play is to tour the world with it, and go to all the big gay cities and have a really good time, and meet people and tell the story... I'm really fascinated to see if the material will stand up over time, if the material breaks out.

EDGE: In your experience, how does theater in the UK differ from theater in here in the US?

Chris Thompson: Well, the first and foremost difference is the funding model. We have an organization called the Arts Council, and it's basically from taxpayers money, and the arts is publicly funded – not to the degree that of a country like Germany – we call it the subsidized theatre, and I owe my career to subsidized theatre, because The Bush, The National Theatre, The Royal Court, all of these theaters that I've come up through, have received grants from the Arts Council.

One of the reasons I moved to America was to explore working within different funding models, more commercially, and to slightly liberate myself. Without wanting to be ungrateful, I felt quite institutionalized by that funding model... So, one of the reasons I'm here is to explore a different funding model where there's no funding. [Laughs] I find people in America do hold the door open slightly more for you than in the UK... People will take a meeting with you here, and they will answer your emails... I find people will introduce you to someone... I don't know if that's me just being more positive because I'm here and I need to tell myself I've made the right decision. It's terrifying, because there's no safety net in either country for writers.

EDGE: I'm assuming you're working on season two next year. What else are you working on?

Chris Thompson: So, a season of "Two Foreskins," and then the TV adaptation of "Two Foreskins." And then I'm working with one of the producers of the movie "Call Me by Your Name" on a gay historical drama. I'm writing the movie, and he'll direct it. And then I've just finished the movie adaptation of one of my plays. I've been trying to get this play on for seven years, so it's kind of crazy that the film will probably come first. But the play's called "Burn." It won awards in the UK without even being produced because it was all during COVID. This is the one that, like, I really wanted to get on. We've got a good director attached, but I can't say his name because he's not signed on the line. We're looking for Hollywood A-listers. We're kind of going down that route with it. Yeah, "Burn" will hopefully see the light of day.