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Algorithms
Meet a bisexual Bridget Jones, a millennial Meg Ryan, a girl standing in front of a boy asking him—wait, it doesn’t have to be a boy? For Brooke, ‘The One’ could be anyone. As long as it’s the type of (actually highly problematic) movie love she’s watched on repeat since she was a little girl. Brooke writes algorithms for a dating app, which is odd given what a hopeless romantic she is. But in the wake of a devastating breakup and with her 30th birthday looming, it seems Brooke has no choice but to do something she’s never done put her own algorithms to the test.... Based on the award-winning sell-out Edinburgh Fringe & Soho Theatre show, Algorithms is a brave, bold and brilliantly funny comedy-drama about dating beyond the binary.
Starring Sadie Clark as Brooke, Alison Steadman as Lucinda, Seyan Sarvan as Amira, Len Gwyn as Frankie, Desiree Burch as Katya, Ciara Baxendale as Josie, Joe Thomas as Charlie and an ensemble cast.
Directed by Lisa Spirling with original score by Tawiah.
Algorithms is intended for an adult audience as it contains scenes of an explicit sexual nature and strong language. Listener discretion is advised.
Sadie Sadie is an award-winning writer, actor and comedy improviser. Her first full-length play, Algorithms, sold out at the Edinburgh Fringe (2019) and Soho Theatre (2020), it won the TV Foundation’s ‘Stage to Screen’ New Voice Award (2020) and was long-listed for the Tony Craze Award (2018). She is an alumni of Soho Theatre Writers Lab (2018), BFI Network x BAFTA Crew (2021) and Mercury Theatre Playwrights (2022). Sadie was named one of The Guardian’s ‘12 Theatre Stars of 2020’ where they cited Algorithms as ‘astonishingly assured and practically broadcast-ready...sweet, sad and, as performed by Clark herself, full of heart–with more than a touch of Miranda Hart too’. Her first two-hander, Gemini, inspired by her experience growing up between London and Norfolk, is currently in development with support from Mercury Theatre and HighTide. It explores queer identity in rural areas, farming and the climate crisis. She is also developing Greedy, a multi-disciplinary piece about desire, lies and willpower, with the support of director Hannah Hauer-King, dramaturg Jules Kelly, Soho Theatre, The Corn Hall and the Arts Council England. After gaining a first in Natural Science at UEA Sadie trained as an actor with Fourth Monkey Theatre Company. She has also trained in long-form improv with Monkey Toast, The Free Association and The Groundlings. She performs regularly on the London improv scene with the all-queer female/non-binary team ‘Hell Yeah’ and as part of the duo ‘A Little Bit of Tender’.
Starring Sadie Clark as Brooke, Alison Steadman as Lucinda, Seyan Sarvan as Amira, Len Gwyn as Frankie, Desiree Burch as Katya, Ciara Baxendale as Josie, Joe Thomas as Charlie and an ensemble cast.
Directed by Lisa Spirling with original score by Tawiah.
Algorithms is intended for an adult audience as it contains scenes of an explicit sexual nature and strong language. Listener discretion is advised.
Sadie Sadie is an award-winning writer, actor and comedy improviser. Her first full-length play, Algorithms, sold out at the Edinburgh Fringe (2019) and Soho Theatre (2020), it won the TV Foundation’s ‘Stage to Screen’ New Voice Award (2020) and was long-listed for the Tony Craze Award (2018). She is an alumni of Soho Theatre Writers Lab (2018), BFI Network x BAFTA Crew (2021) and Mercury Theatre Playwrights (2022). Sadie was named one of The Guardian’s ‘12 Theatre Stars of 2020’ where they cited Algorithms as ‘astonishingly assured and practically broadcast-ready...sweet, sad and, as performed by Clark herself, full of heart–with more than a touch of Miranda Hart too’. Her first two-hander, Gemini, inspired by her experience growing up between London and Norfolk, is currently in development with support from Mercury Theatre and HighTide. It explores queer identity in rural areas, farming and the climate crisis. She is also developing Greedy, a multi-disciplinary piece about desire, lies and willpower, with the support of director Hannah Hauer-King, dramaturg Jules Kelly, Soho Theatre, The Corn Hall and the Arts Council England. After gaining a first in Natural Science at UEA Sadie trained as an actor with Fourth Monkey Theatre Company. She has also trained in long-form improv with Monkey Toast, The Free Association and The Groundlings. She performs regularly on the London improv scene with the all-queer female/non-binary team ‘Hell Yeah’ and as part of the duo ‘A Little Bit of Tender’.
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Published June 30, 2022
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Displaying 1 - 17 of 17 reviews
December 29, 2022
This was great! A really relatable look into navigating your late twenties as a queer person. It was narrated in the format of these really immersive scenes. It was funny, chaotic, and real. Overall a great read.
September 30, 2023
From New Favourite to Crushing Disappointment
I seriously need to stop getting so invested in stories that seem so brilliant and speak so strongly to me to avoid the heartbreaking Tyra Banks moments and autistic tears that happen more often than I care to admit.
Algorithms declares itself a modern Bridget Jones, but carries itself closer to Fleabag in its incisive, honest, ugly, horny beauty. It follows the end of Brooke's year as a twenty something through heartbreak, neuroses, issues with work and family, complications in what seems like the perfect new romance, and the wheels really falling off, before an uplifting, but in my honest opinion, seriously vapid, privileged, and harmful ending and ultimate message.
I feel somewhat like I did when I finished Powder by Tobias Wolff -- yes, getting out of your own way and stopping overthinking everything is the dream, but just as the son in Wolff's short story apparently achieves this by not caring about the disrespect his dad has for his mother's time and Christmas Eve plans, not to mention the complete disregard for his son's safety, driving in seriously dangerous conditions on roads closed for safety, Sadie Clark's Brooke's chilling out and being happy is accepting biphobia, micro aggressions, 'gold star lesbians', that ghosting and cheating is apparently equal to not talking about your feelings, abusive bosses are fine if they open up to you and the app you are working on is a success, and being constantly mansplained and having your work stolen by a cishet dude who might actually be 'the one' because he fancies you, is fun, and laid back...
Am I losing my autistic mind? As a trans femme MSpec Bi/ Pan Lesbian am I triggered by the 'gold star lesbian' acceptance? Do I find the concept of a positive relationship with one's mother unthinkable and unsettling? I'm sure these are all true as is allowing myself to fall in love with a work of art too easily and then getting my heart smashed to pieces. Am I overly dramatic?
So much about this is wonderful and, frankly, everything that happened could still happen, but with less acceptance and capitulation, or at the very least this surrendering to all this awfulness not being presented as a wise and uplifting message for the listener to take away, by Brooke. Things are perfect, characters aren't perfect, and art isn't perfect. That's OK. I don't think it's unreasonable to feel so strongly about the acceptance and promoting the acceptance of such harmful things, especially to Queer folx.
I'm bi and white. I come from a privileged background, regardless of the childhood trauma, C-PTSD, chronic physical and mental conditions and disabilities, and being trans. I have love for all my siblings in intersectionality. I do think it's important to call out harmful and privileged white cis perspectives in our own communities. Honestly, if this wasn't written and performed so well and practically perfect in other areas, I would have scored this lower. I was ready for this to be 11/5 new favourite thing ever, but, yeah, this is a seriously impressive, beautifully written, amazingly performed crushing disappointment that is torpedoed by the last episode and the need for some Hallmark ending.
Truly heartbreaking.
I seriously need to stop getting so invested in stories that seem so brilliant and speak so strongly to me to avoid the heartbreaking Tyra Banks moments and autistic tears that happen more often than I care to admit.
Algorithms declares itself a modern Bridget Jones, but carries itself closer to Fleabag in its incisive, honest, ugly, horny beauty. It follows the end of Brooke's year as a twenty something through heartbreak, neuroses, issues with work and family, complications in what seems like the perfect new romance, and the wheels really falling off, before an uplifting, but in my honest opinion, seriously vapid, privileged, and harmful ending and ultimate message.
I feel somewhat like I did when I finished Powder by Tobias Wolff -- yes, getting out of your own way and stopping overthinking everything is the dream, but just as the son in Wolff's short story apparently achieves this by not caring about the disrespect his dad has for his mother's time and Christmas Eve plans, not to mention the complete disregard for his son's safety, driving in seriously dangerous conditions on roads closed for safety, Sadie Clark's Brooke's chilling out and being happy is accepting biphobia, micro aggressions, 'gold star lesbians', that ghosting and cheating is apparently equal to not talking about your feelings, abusive bosses are fine if they open up to you and the app you are working on is a success, and being constantly mansplained and having your work stolen by a cishet dude who might actually be 'the one' because he fancies you, is fun, and laid back...
Am I losing my autistic mind? As a trans femme MSpec Bi/ Pan Lesbian am I triggered by the 'gold star lesbian' acceptance? Do I find the concept of a positive relationship with one's mother unthinkable and unsettling? I'm sure these are all true as is allowing myself to fall in love with a work of art too easily and then getting my heart smashed to pieces. Am I overly dramatic?
So much about this is wonderful and, frankly, everything that happened could still happen, but with less acceptance and capitulation, or at the very least this surrendering to all this awfulness not being presented as a wise and uplifting message for the listener to take away, by Brooke. Things are perfect, characters aren't perfect, and art isn't perfect. That's OK. I don't think it's unreasonable to feel so strongly about the acceptance and promoting the acceptance of such harmful things, especially to Queer folx.
I'm bi and white. I come from a privileged background, regardless of the childhood trauma, C-PTSD, chronic physical and mental conditions and disabilities, and being trans. I have love for all my siblings in intersectionality. I do think it's important to call out harmful and privileged white cis perspectives in our own communities. Honestly, if this wasn't written and performed so well and practically perfect in other areas, I would have scored this lower. I was ready for this to be 11/5 new favourite thing ever, but, yeah, this is a seriously impressive, beautifully written, amazingly performed crushing disappointment that is torpedoed by the last episode and the need for some Hallmark ending.
Truly heartbreaking.
June 19, 2023
📲 ALGORITHMS 📲
Rating: ⭐️⭐️⭐️⭐️
Average Goodreads Rating: ⭐️⭐️⭐️.71
Format: 🎧
Publisher: Audible Originals
Length: 2 hours and 38 minutes
"Meet Brooke: a bisexual Bridget Jones, a millennial Meg Ryan, a girl standing in front of a boy asking him - wait, it doesn’t have to be a boy?
For Brooke, "The One" could be anyone. As long as it’s the type of (actually highly problematic) movie love she’s watched on repeat since she was a little girl. Brooke writes algorithms for a dating app, which is odd given what a hopeless romantic she is. But in the wake of a devastating breakup and with her 30th birthday looming, it seems Brooke has no choice but to do something she’s never done before: put her own algorithms to the test...
Based on the award-winning sell-out Edinburgh Fringe & Soho Theatre show, Algorithms is a brave, bold and brilliantly funny comedy-drama."
In the spirit of Pride Month and confronting my own sexuality, I've been drawn to queer reads and listens as of late.
This was funny and very Bridget Jones-esque without the problematic weight stuff. It was quick to get through and very relatable.
Brooke is honest, raw, unapologetically herself. I'm not usually a fan of super quick reads, but this was a funny insight into the world of modern-day dating, bisexuality and a young woman trying to find her sense of self.
Rating: ⭐️⭐️⭐️⭐️
Average Goodreads Rating: ⭐️⭐️⭐️.71
Format: 🎧
Publisher: Audible Originals
Length: 2 hours and 38 minutes
"Meet Brooke: a bisexual Bridget Jones, a millennial Meg Ryan, a girl standing in front of a boy asking him - wait, it doesn’t have to be a boy?
For Brooke, "The One" could be anyone. As long as it’s the type of (actually highly problematic) movie love she’s watched on repeat since she was a little girl. Brooke writes algorithms for a dating app, which is odd given what a hopeless romantic she is. But in the wake of a devastating breakup and with her 30th birthday looming, it seems Brooke has no choice but to do something she’s never done before: put her own algorithms to the test...
Based on the award-winning sell-out Edinburgh Fringe & Soho Theatre show, Algorithms is a brave, bold and brilliantly funny comedy-drama."
In the spirit of Pride Month and confronting my own sexuality, I've been drawn to queer reads and listens as of late.
This was funny and very Bridget Jones-esque without the problematic weight stuff. It was quick to get through and very relatable.
Brooke is honest, raw, unapologetically herself. I'm not usually a fan of super quick reads, but this was a funny insight into the world of modern-day dating, bisexuality and a young woman trying to find her sense of self.
May 2, 2023
Based on a play of the same name, this (free) Audible original was a really fun listen, including a full cast and great production.
Brooke is on the cusp of turning thirty, and is having to rethink her five year plan after her long term girlfriend breaks up with her. She then manipulates the algorithm of the dating app she works for, in order to find her perfect match and keep her life on track. Making fun of stereotypical romcom tropes and exploring themes of gender and sexuality, Algorithms is a Fleabag-esque story about modern relationships, ranging from romantic to platonic to familial. 4⭐️
Brooke is on the cusp of turning thirty, and is having to rethink her five year plan after her long term girlfriend breaks up with her. She then manipulates the algorithm of the dating app she works for, in order to find her perfect match and keep her life on track. Making fun of stereotypical romcom tropes and exploring themes of gender and sexuality, Algorithms is a Fleabag-esque story about modern relationships, ranging from romantic to platonic to familial. 4⭐️
March 11, 2023
Reflections and lessons learned:
“…I’m sure I’ll find it funny in a few weeks…”
I’m a Bridget Jones era girl, which I enjoyed at the time, and even though I’m now in a settled and long term relationship (I think!), I don’t know as much about modern relationships and the general scene.
This was primarily a play extended out, but I still enjoyed the characters and storyline. By the time my kids are in their era for this I’m guessing that things will have moved on twofold again, but a light comedy that keeps me a bit updated for the time being!
“…I’m sure I’ll find it funny in a few weeks…”
I’m a Bridget Jones era girl, which I enjoyed at the time, and even though I’m now in a settled and long term relationship (I think!), I don’t know as much about modern relationships and the general scene.
This was primarily a play extended out, but I still enjoyed the characters and storyline. By the time my kids are in their era for this I’m guessing that things will have moved on twofold again, but a light comedy that keeps me a bit updated for the time being!
March 15, 2023
Even though I’ve seen/read enough stories like this to know where it was going it was still an entertaining listen.
And honestly… a little too real at times. I may not be a bisexual woman trying to get through life but it’s still way too relatable at points.
And honestly… a little too real at times. I may not be a bisexual woman trying to get through life but it’s still way too relatable at points.
March 15, 2023
Meet cutes, entertainment, drama, and finding your place in the world beyond the binary. This short story/production was all around pleasant, and had good hilarious chaotic vibes throughout. Definitely would keep an eye on Sadie Clark in the future.
November 10, 2025
A super-fun listen about being queer (other labels are available throughout in this) in your late twenties and navigating relationships. Based on Sadie Clark's play, this is brought to life brilliantly on audio.
Free on Audible and well worth the time :).
Free on Audible and well worth the time :).
July 26, 2022
A contemporary and funny view of dating,working and negotiating 2022 world.
August 30, 2022
Funny, super relatable - binged it!
October 10, 2022
Very funny! Lovely read 🥰
December 21, 2022
A lovely book! I enjoyed it! A lot!
February 4, 2023
This was really great!
April 17, 2023
3.5 sterren
Het was alsof ik naar een serie luisterde
Queer maar beetje unhinged soms
Het was alsof ik naar een serie luisterde
Queer maar beetje unhinged soms
February 7, 2024
Quite a funny short audioplay about dating in the modern world.
April 5, 2025
Based on a play, Sadie Clark has opened the dating world to non binary through her algorithms in a dating app. Its a light romp which makes you sit up. Its a great for Miranda Hart fans
September 5, 2022
The audiobook was really funny
Displaying 1 - 17 of 17 reviews