Before its official run at the Edinburgh Festival Fringe, This Year I Am Going To Die, written and performed by Jonas Feind, already demonstrates a remarkably confident script. Tackling themes of mental health, anxiety, and mortality, the production wisely refuses to dwell in darkness. Instead, it approaches these heavy subjects through comedy, inviting audiences to laugh first before quietly confronting the question of what it truly means to live.

As outlined in the production notes, the play asks whether anxiety is genuinely a prediction of the future or simply a lens through which we reinterpret our past. References to The Sims, Twilight, internet culture, and queer identity are woven naturally into the narrative—not merely as nostalgic callbacks, but as reflections of how younger generations process emotions and construct identity through shared media experiences. The result is a distinctly Gen Z perspective that feels authentic rather than performative.

The production’s greatest strength lies in Jonas Feind himself. As both playwright and performer, he demonstrates an exceptional command of pacing. Every pause, punchline, and emotional shift feels carefully calibrated, allowing the audience to move effortlessly between laughter and reflection. His frequent interactions with the audience create an atmosphere closer to an intimate conversation than a conventional theatrical performance, immediately establishing trust and engagement.

Equally impressive is his ability to inhabit multiple characters throughout the performance. With only subtle adjustments in voice, posture, and rhythm, Feind clearly differentiates each role without relying on costume changes or elaborate theatrical devices. His performance is fluid, energetic, and technically accomplished, showcasing an impressive range for a solo performer.

Ironically, these strengths also reveal where the production could grow.

Although marketed as a theatrical work, much of the performance leans toward the conventions of stand-up comedy. A significant portion consists of direct storytelling and audience interaction, while comparatively fewer moments are built around dramatic action, character relationships, or fully realised theatrical scenes. As a result, the production often feels like an exceptionally well-crafted solo comedy set rather than a piece that fully embraces the possibilities of theatre.

The visual design is similarly restrained. The stage remains minimal throughout, with the set, lighting, and props serving largely functional purposes rather than becoming active storytelling elements. Consequently, the entire production rests almost entirely on the strength of the script and Feind’s performance. While this undoubtedly highlights the quality of both, a more imaginative integration of theatrical design could elevate the work considerably. Greater use of space, visual imagery, or stagecraft would allow the production to communicate not only through language, but through the uniquely expressive tools of theatre itself.

What remains consistently compelling is the honesty of the writing. The play never attempts to romanticise mental illness or manipulate the audience emotionally. Instead, it acknowledges the absurdity of anxious thinking—the endless catastrophes we invent before anything has actually happened. Through humour, it gently exposes how anxiety often writes stories on our behalf long before reality has a chance to unfold.

Rather than offering comforting answers or simplistic optimism, This Year I Am Going To Die encourages audiences to coexist with uncertainty. By laughing at our fears, the play subtly reminds us that anxiety may not be a prophecy at all, but simply another narrative we’ve learned to tell ourselves.

Overall, this is an elegant and thoughtfully constructed solo performance. Jonas Feind’s sharp writing and charismatic stage presence sustain the production from beginning to end, making for an engaging and genuinely funny evening of theatre. While the work currently leans more heavily toward stand-up comedy than fully theatrical storytelling, and its visual language could be developed further, its creative foundation is undeniably strong.

With further refinement ahead of its Edinburgh Festival Fringe run, there is every reason to believe that This Year I Am Going To Die will become an even more polished and compelling piece of theatre.