It was only a matter of time before a piece like this came about – a real-life cyber sex thriller about fabricated identities, burning passions for invisible strangers and the near fatal consequences of infatuation-fuelled exploits.

Johnny (Ash Flanders) Image: Sarah Walker
At the centre of it is a 14-year-old British boy Johnny – a self-confessed "genius" and "confident trickster" – with quite a story to prove it. His invisible co-protagonist and the subject of his growing adoration is Marky Mark – an exemplary student and sports prodigy – with a proneness to gullibility.
The most surprising thing, however, is that this particular show hails from Melbourne – which, in a way, is also a testament to just how far-reaching Johnny's genius really is.
Based on a feature from Vanity Fair, Adam JA Cass's script in Ash Flanders' rendition initially comes across as a mix between Berkoffian Cockney and poetic 'yoofspeak', interspersed with the internet chat-room punctuation.
As the story grows into a captivating web of deceit and despair, we become witness to a shattering account of loneliness which accompanies the sexual awakening of a homosexual young man into a homophobic environment.
Or, in a paraphrase of Johnny's own words – this is a story of a contemporary Juliet – every bit as tragic as the Shakespearean original.
This review has been specially formatted into a thin, 'newspaper-style' column to make it easy for production companies and venues to include the review on the display boards which are used outside venues throughout Edinburgh.
If you wish to display this review in such a way, then please feel free, with the following provisos:
If you have any questions about our reviews policy, please contact us at webmaster@thestage.co.uk
Copyright © 2009 The Stage Newspaper Limited