Issy Knowles’ “Body Count” arrives at the SoHo Playhouse with a sharp, satirical edge, fresh from a critically lauded run at the Edinburgh Fringe. Written and performed by Knowles (creator of MODEL BEHAVIOUR), the play premieres at SoHo Playhouse March 3–29, 2026, for 21 performances.
The solo play follows Pollie, an OnlyFans creator who aims to skyrocket her digital fame through a radical, headline-grabbing stunt: sleeping with 1,000 of her subscribers.
Knowles, who both wrote and performs the piece, is “mesmerizingly charismatic” and “blisteringly smart,” navigating the dark humor of the script with a steely-eyed defiance.
UK critics have noted her impressive ability to pivot between the various “vile” and “emotionally incapable” men in Pollie’s queue, using a mix of prosthetic-enhanced physicality and a “spectacular south London accent” to skewer the transactional nature of modern intimacy.
Beneath the provocative premise and the condoms scattered across the stage lies a “thought-provoking” interrogation of the digital age’s commodification of the self.
The play touches on the issue of feminism; Knowles cites statistics stating that 94% of women see sex work as their only option for survival, not a choice, and that 97% of physically aggressive acts in porn are directed toward women. While she notes nearly 8 million women experience intimate partner violence in a single year, I would argue that numbers for violence against women in general are even higher.
I ask this question to every single woman I know: “Have you ever experienced abuse?” The answer is always YES.
Directed by Alice Wordsworth, the production juxtaposes Pollie’s current “marathon sexthletics” with flashbacks to her Catholic upbringing and a failed corporate career, portrayed through clever choreography that equates office tasks with sexual acts.
Like many women of my generation (I am 59), I find myself conflicted about the state of feminism in 2026. The landscape has shifted toward a more aggressive, “no second chances” philosophy, one that is tightly woven into the fabric of cancel culture. It feels as though the art of the approach has been lost; men simply don’t engage with women as they used to, wary of a movement that often prioritizes retribution over dialogue.
In a world where the internet has raised generations increasingly detached from deep reflection, critical thinking, and the wisdom gained through lived experience, I find myself wishing that feminism could find room to forgive someone like Charlie Rose. I deeply miss the caliber of his intelligent interviews and the nuanced commentary he brought to the cultural conversation. I care he touched women inappropriately in a work environment. That happened to me. If I could put a stop on it, I would. It’s an important debate, we will never stop fighting for the powerless individuals, whoever they are.
Why can’t we extend the grace of a second chance to those who cross these new, rigid boundaries? Not all touch is born of malice; there are countless nuances to human interaction, yet we have reached a point in 2026 where a simple gesture can become a catastrophic problem for any of us.
I don’t know Charlie Rose personally. We are all aware that he touched women inappropriately and sexually in a professional setting – a behavior that is rightfully unacceptable in our century, which is great. However, if I had the opportunity to speak with him, and if I could discern that he was truly penitent and had learned from his mistakes, I would hire him. I would give him that second chance, even if it meant weathering the inevitable backlash from those who don’t understand the profound value of redemption and the power of allowing someone to recover.
Like Pollie says: “Do you know how hard is to be a white man now?”. Yeah, life is hard. Watch Pollie and her “sex-acrobatics” to laugh of it all, it is what we all really need RIGHT NOW.
Spicy it up, bring your date to see “Body Count”.
I love talking about feminism; we are undoubtedly making significant progress. Personally, I don’t mind the touch of men – without that human connection, the world would be an incredibly solitary place. What I consistently remind others is that a fundamental part of the human experience is the capacity for grace: granting a second or even a third chance to those who deserve the opportunity to grow and change.
Give everyone a chance. You might need one in the world we are living in. We are what we want to be, says Knowles. Sex work is normalized, the play says, we see it every day, everywhere.
Normalize second changes everyone! We ALL need it.
In conversation with some reviewers, they expressed that the characterizations of the male clients felt slightly heavy-handed. However, we all know the reality of men: they desire intimacy immediately and on their own terms, and that is perfectly acceptable. As Freud observed, aggression is an inherent part of life – and, inevitably, an inherent part of sex.
Personally, I find it refreshing these days just to watch a hetero play, where I don’t have to debate with anyone that, of course, we support everyone as women. We just want support back as we give birth to everyone. It is really simple. Support women, but ultimately, support each other.
Back to the play, it is widely praised as a “zeitgeisty satire” that refuses to offer easy moral answers. It is an unapologetic, hour-long dive into the complexities of agency and the psychological cost of building a persona for public consumption, making it a standout addition to this year’s International Fringe Encore Series.
SoHo Playhouse
15 Vandam Street, New York, NY
(212) 691-1555
Tickets: https://www.sohoplayhouse.com/see-a-show/body-count
The show contains sexual content: for adults 18+ only. Tickets to all shows are $45.50 (includes fees). Student tickets are $20 (with valid ID) at the box office on the day of the show on a space-availability basis.
https://www.instagram.com/bodycountplay
Run time: 1 hour.
Directed by: Alice Wordsworth.
Producer: Julia Salkin.
Lighting & Sound Designer: Sam Levy.
About SoHo Playhouse Continuing in the spirit of the theater’s original tenant, Edward Albee and his Playwright Unit Workshop, SoHo Playhouse (Artistic Director Darren Lee Cole, Managing Director Britt Lafield) is committed to presenting the brightest and most talented artists from New York, with its Lighthouse Series, and around the world, with the International Fringe Encore Series. This mission provides the theater-going audience of New York with important stories told with unique style, evolving the concept of Off-Broadway Theater for the 21st century. Visit https://www.sohoplayhouse.com.
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