1980s Synthwave, Addiction, and the Raw Pursuit of Intimacy

Sushant Nair discusses Cocaine ahead of playing Camden Fringe 2026

After the success of our 2025 Camden Fringe Interviews, we thought it only right to attempt a repeat for 2026. So throughout July we’ll be publishing new interviews each day to give a taste of what to expect from London’s best fringe theatre festival. The festival starts Monday 3 August this year, so we may give ourselves a couple of days off inbetween the end of the interviews and the first shows… then again, we might not.

You can find out more about Camden Fringe, along with details of every show playing this August here. You can also find all of this year’s interviews as they are published here.

What happens when two souls, bound together by mutual necessity and unsaid desires, use addiction as a barrier to hide their true feelings? Landing at The Courtyard Theatre and Etcetera Theatre for Camden Fringe 2026, Cocaine is a steamy, intense, and emotionally raw drama that reimagines a classic text through a retro lens.

Originally written in 1917 by Pendleton King, this gripping one-act play has been expanded and reimagined by director-producer Sushant Nair (Actinium Media Ltd) and co-producer Geir Thomassen (who stars as Joe alongside Phoebe Alice Ritchie as Nora). Transported into the neon-soaked, synth-driven backdrop of the 1980s, Cocaine delves deep into the messy bedroom of two deeply flawed lovers fighting for connection in a world filled with temporary dopamine hits.

We sat down with Sushant to talk about breathing new life into a 100-year-old script, expanding a 35-minute classic into a full-length piece, and curating an 80s soundtrack featuring Stevie Nicks, Madonna, and synthwave beats.

If you had to describe the vibe of your show in just one sentence, what would it be and how does it manifest on stage?

The play combines steamy romance, drama, curiosity, and emotional depth as two people, united by a common purpose, struggle to admit their feelings, with addiction serving as a powerful metaphor for their relationship.

Why is 2026 the perfect time for this show to be seen?

Because its themes will resonate deeply with contemporary audiences. We live in an era in which people often hesitate to acknowledge their true feelings, struggle to define their relationships, and seek comfort in activities that offer a fleeting dopamine hit; temporary distractions from the issues that truly matter. We have been developing this production for over a year, and, as a team, we are humbled and grateful for the opportunity to bring this socially relevant play to audiences.

What was the ‘eureka moment’ that made you realise this story had to be told right now?

The credit for kick-starting this production goes to my Co-Producer, Geir Thomassen, who also plays Joe. Geir was searching for a one-act play with characters and themes that remain relevant today when he came across this remarkable work, originally published in 1917. The moment I read it, I knew we had to stage it. Although all the action takes place in a single room, the play’s exploration of addiction, intimacy, and conflict between two deeply relatable characters is incredibly gripping. My ‘eureka moment’ came within the first three pages, when I realised just how relevant its themes remain, despite the play having been written more than a century ago.

How has the original text changed then?

As the original piece runs for approximately 35 minutes, I saw an exciting opportunity to flesh out the story through newly written material in addition to what has been published. I have made a sincere effort to honour Pendleton King’s distinctive style and tone while adding further depth to the characters and their relationship. We cannot wait to see how audiences respond to this expanded version, reimagined against the backdrop of the 1980s.

Being fringe and a festival, we all know sets have to be bare minimum, how have you got around this?

The show tells its story through a minimalist approach to props and set design. The show plays out in the characters’ messy bedroom, and what the audiences will primarily see is a bed and a couple of chairs. Every effort has been made to draw the audience into the characters’ bedroom. The lighting and sound have been designed to evoke the troubled lives of these two individuals and the chaos surrounding them, both literally and figuratively.

If your show had a soundtrack, what songs would definitely be on it?

Interestingly, we feature “Because the Night” by The Midnight (featuring Nikki Flores), a cover of the Patti Smith Group’s 1978 classic, at a pivotal moment in the story. As the play is set in the 1980s, the music needs to create an eclectic blend of period classics and modern nostalgia, perfectly complementing the world of the play. So, it features defining songs of the era, such as Stevie Nicks’ “Stand Back”, Madonna’s “Dress You Up”, Buckingham Nicks’ “Crystal”, and Fleetwood Mac’s “Little Lies”, along with contemporary synthwave tracks that evoke the neon-lit spirit of the 1980s, such as The Midnight’s “Deep Blue” and “Good in Red.”

If you could perform this show anywhere in the world, where would it be?

Undoubtedly, it would be New York City’s Broadway. As the protagonists are American residents, I believe the play’s themes and the challenges they face would resonate particularly strongly with audiences there.

What’s the most valuable piece of advice you’ve received during your career, and how has it influenced your work on this show?

Before I started pursuing acting, I worked as a Production Assistant, and a Director once told me: “Judging people can be useful, we do it every day, whether consciously or not. Being honest and articulate about those judgements can help you understand people more deeply and, ultimately, become a better Director.” That advice has stayed with me. It has shaped my understanding of Joe and Nora and helped me guide Geir and Phoebe in bringing these complex characters to life on stage.

Many thanks to Sushant for his time. Cocaine will play at The Courtyard Theatre on Saturday 15 and Sunday 16 August, followed by Etcetera Theatre on Sunday 30 August.