Are some people genuinely sick? Or do we live in a sick society? The Halo Effect follows two characters as they navigate their own experiences of looksmaxxing culture and asks whether it is the individuals themselves or society that is truly to blame for these problems. We meet Carter Davis (Zak Rosen), a famous Miami-based influencer who states that ‘looks’ are the single most important thing in anyone’s life, and entirely dictate the success of careers and relationships, both romantic and platonic. He explains the lengths that he has gone and is willing to go to ‘mog’ every other male. This storyline coincides with Dee Murphy (Julie Coleman), a Dublin-based mother who discovers that her 14-year-old son is a fan of Carter’s, after he was issued a warning at school for his bad behaviour and treatment of women. Her son’s misogyny reminds her of the way her ex-partner used to treat her, and she slowly begins to understand the true meaning of ‘the halo effect’ and why so many women go for these ‘assholes’. Great theatre is bold theatre, and Dave Edward Keenan’s writing is a perfect example of this.
This play was almost an immersive experience, with it beginning before the actors even stepped on stage. On the seats were a list of definitions, including words such as ‘mog’ and ‘mewing’. This was a brilliant touch, as it not only was practical but it also set the tone for the play and instantly exposed how enormous this culture has become: its own world, with its own language, rules and morals. The set was simple, with the stage being split by a line of newspaper clippings on the looksmaxxing culture and the major effects it has on society. On both sides of this line was a table with a few items that summed up the characters: protein powder, a laptop and gym weights for Carter and far simpler items for Dee, such as a kettle, mug and notepad. The sound design by Jillian Osborne supported this intense and immersive entrance for the audience, with loud music being played. The fast tempo and powerful bass felt like we were in a gym, or maybe a club, which gave the audience adrenaline and made us feel unsettled. The music then cut off, and a compilation of voiceovers began, a mixture of news headlines, as well as interviews with notable real-life influencers such as looksmaxxer ‘Clavicular’. This was incredibly effective as it instantly highlighted the extreme lengths young men will go to maximise their looks and how it massively affects views about women and society as a whole.
The lighting design by Caro Vinden was simple but incredibly effective. Two exposing bright white spotlights were used to fill the stage but also to highlight the separation between the two characters. It displayed their physical separation, representing how they are in entirely different spaces and don’t ever actually meet, but also highlighted how the looksmaxxing culture creates a huge divide between men and women. An angry red light was used throughout the play that grew as the tension rose, symbolising the negative effects of this culture. At points, a ring light attached to a mobile phone, representing the phone screen, was used to light Carter’s face. The light was harsh and was extremely effective in showing just how powerful that small device is. A blue light was introduced at the end against the red, which could be said to have been used to represent the flashing lights of emergency services, but the contrasting colours also beautifully showed the conflict of interests and duality between the characters and their beliefs.
Dave Edward Keenan’s writing is excellent. The play uses only monologues, swapping between the two characters, which is unique and incredibly effective. The language used is natural and effortless, and the characters speak directly to the audience, ensuring the message is loud and clear, no information is missed, and guaranteeing that the audience will not leave the theatre without reflecting and asking questions. The writing is also very clever, showing how the looksmaxxing culture affects both men and women in different ways. We sympathise greatly with Dee as the play calls attention to how misogynistic this part of society is and how badly women can be treated, also by their own partners and sons who are ‘infected’ by this culture. The play also successfully spotlights how, despite being so misogynistic, the looksmaxxing culture has very little to do with women at all, and more to do with men feeling the need to compete with and impress other men to feel accepted. Dave Edward Keenan gives Carter a clear voice too and shows the audience what it might be like from his perspective, allowing him to explain his behaviour. The writing is so compelling because as much as Carter’s position is one you cannot give grounds for, you also can’t help but pity him and empathise with his insecurities. The tension builds slowly, with the characters jumping into each of their monologues quickly, giving the impression that they are competing to speak and tell their side of this story.
Harper Kathleen Hefferon, as director, has done a brilliant job of bringing this play to life. When it is built upon no actual dialogue and just monologues, it could be challenging to keep the audience engaged, but at no point did my eyes veer away from the stage. The space was used effectively, with both characters keeping their distance most of the time, maintaining the illusion that they’re in separate places. As the play progresses, they begin to slowly cross sides and interact, which was a really effective way of showing how this culture has slowly infected our society. The aisle into the audience was utilised well, bringing the audience in closer and representing how invasive this side of the internet really is and the lengths these influencers will go to convince you of their beliefs.
Zak Rosen and Julie Coleman were brilliant. Julie Coleman as Dee was incredibly natural and created a very realistic, relatable and heartbreaking character. Zak Rosen was terrifying (in the best way), representing the obsessive, bullying nature perfectly and yet also had a softness to him that made it seem like he could crack at any moment, revealing someone beneath who was just screaming out for help.
The Halo Effect is intelligent and impactful, and its message will stick with its audience far longer than just while they’re in the theatre. It leaves you with questions about how we might be able to combat this problem, or if it has gone too far and if we even can. Dave Edward Keenan has written an excellent play that, without question, has a long life outside of this run at Lambeth Fringe.
The Halo Effect plays at The Bread and Roses Theatre on the 21st and 22nd of October 2026 as part of Lambeth Fringe.
https://lambethfringe.com/events/the-halo-effect
Reviewer: Holly-Lily
Date reviewed: 21st October 2026
