TOP GS LIKE ME
Royal and Derngate Theatre
★★★
“a timely, sharp eyed look at how easily vulnerable young people can be radicalised”
Masculinity is under threat… or is it? When algorithms decide what you see and hear, it’s easy to miss when you’ve slipped off the deep end. A sharp tale from Northamptonshire writer Samson Hawkins, ‘Top Gs Like Me’ delivers pointed lessons – even if it feels pitched at younger audiences.
Eighteen-year-old Aidan feels stuck – stacking shelves, sick mum, no dad. Meanwhile best friend Mia’s about to leave for uni with her rich new boyfriend. With no aspirations and little support, he retreats into the internet. And when slick, sharp talking ‘Hugo Bang’ pops up promising answers, he clicks… again and again. What follows is a stark look at how easily the internet can drag someone under, sometimes with horrifying consequences.
Northamptonshire local Samson Hawkins’ second full length play, with dramaturgy by Lauren Mooney, is a timely, sharp eyed look at how easily vulnerable young people can be radicalised. It tackles big topics – disenfranchised youth, the ‘manosphere’, consent – in a way that’s instantly relatable and shows how fast a lonely scroll can turn dark. However, it’s not exactly subtle, with some hard landing points, on the nose dialogue, and a couple of developments lacking setup. Aidan’s hopeful final choice is followed by a rather dark coda – an important if bleak warning. Overall, it feels pitched at younger viewers – though judging by the enthusiastic teens behind me, it works.
Royal & Derngate Artistic Director Jesse Jones, with associate Kitty Benford and movement director Monica Nicolaides, chart Aidan’s slide with real clarity, escalating from casual clicks to a brain full of Bang. Their climactic fused voices and mirrored movements are absolutely gripping. Though the opening drags a little, shifting from a long music sequence into an equally long TikTok montage before Aidan’s first line. The sprawling skate park set, with audiences on both sides, is stunning though the scale and frequent side-on scenes feel more observational than immersive. The twenty-five strong student chorus is an ambitious flourish: their TikToks and multiplying Hugo Bangs are striking, though the group dances add less and aren’t always cleanly delivered. Gemma Boaden’s local accents ground the piece, but Aidan’s muffled diction and the echoey acoustic mean some lines get lost.
Rebecca Brower’s design swings big, turning the auditorium into a full-size skate park with moving platforms and built in lighting – an impressive feat. It looks fantastic, though the action can feel a little distant. Benjamin Grant’s sound design shines in places, especially the opening sequence of inside to outside headphone audio that shows how cut off Aidan already is. The wider soundscape of TikTok hits, tense underscoring and sharp effects complements the action well, but the volume swamps a few lines and the dialogue often echoes. Rory Beaton’s lighting is bold: hidden LED strips flare an angry red wherever Bang lurks, spreading as Aidan sinks deeper, while bursts of colour punctuate key lines before blending into more naturalistic moments. Brower’s costumes are spot on: Hugo’s sharp red suit over a white vest nails the slick on top, sinister underneath vibe, while Aidan’s baggier, dirtier imitation is so feeble it’s almost sympathetic.
The cast is fab. Danny Hatchard’s Hugo Bang steals the show with suave charisma that slowly reveals something far more sinister, culminating in a goosebump inducing climax. Daniel Rainford’s Aidan shows real vulnerability before spiralling out – a strong performance even if a few lines get lost. Fanta Barrie’s Mia offers a grounded counterpoint, supporting Aidan with believable frustration, though her energy plateaus slightly in the final scene. Emily Coates’ Grace deftly plays someone performing a version of herself, navigating the character’s ethical knots with nuance. Finn Samuels’ Charlie balances well meaning warmth with oblivious privilege. David Schaal’s Dave brings a world weary humanity and much needed voice of reason. The Internet Ensemble adds real spark with vibrant TikToks and energetic, if slightly loose, dancing.
‘Top Gs Like Me’ is a heavy hitting but important watch, packed with crucial lessons for younger audiences. Though aimed at a younger crowd, you too may find Bang’s pull hard to resist.
TOP GS LIKE ME
Royal and Derngate Theatre
Reviewed on 28th February 2026
by Hannah Bothelton
Photography by Manuel Harlan
