BAD LADS

Live Theatre

★★★★★

“Raynor and Yorke have deeply electric acting chemistry”

‘Bad Lads’ by Graeae Productions, in association with Live Theatre, is a powerful, understated, and captivating production exploring the real story of the young men held at Medomsley Youth Detention Centre in County Durham during the 1980s. Writer Mike Kenny presents a short, sharp, shock of a piece which exploring a convening of protagonist Jackie’s present and younger self and his time spent at Medomsley, alongside strongly integrated BSL interpretation. Created from a story by Jimmy Coffey, and testimonies from boys who were witness to and victims of large-scale abuse, ‘Bad Lads’ uniquely and boldly shares a heart-breaking story of tragic injustice and oppression.

Set between the present day and the thick of the Thatcher government’s “short, sharp, shock” policy which was advertised as a method of correcting defiant and wayward boys, ‘Bad Lads’ movingly captures the dark underbelly of institutional silence, corruption, and abuse. Jenny Sealey’s direction is breath-takingly simple, effect, and stark. Her direction pairs excellently with the straight-forward magic of Kenny’s script. Their work feels both straight-to-the-point yet never spoon-feeding, asking deeply what it takes to speak up against abuse after decades of being silenced.

A conversation between the “three Jackies”, the script tightly sifts through a hard-to-reckon past, and envisions a chilling sentence endured by young Jackie. As Danny Raynor, playing older Jackie, pieces together the puzzle of his abuse, Robin Paley Yorke, playing his younger counterpart, meets him with devastatingly knowing glances as he lives through their shared trauma. Raynor and Yorke have deeply electric acting chemistry, overlaying their cyclical dialogue and portraying a convincing performance of the same man changed by years of repressing his very difficult past. Their shared boyish humour, as well as their pain, fuels a constantly riveting performance. The show gorgeously explores an intergenerational conversation with the self, from the perspective of someone who had endured abuse at Medomsley, re-awakened by police enquires four decades on.

Craig Painting’s BSL interpretation and movement is beyond staggering. The expressiveness and deep emotion conveyed without a moment’s rest ties the connection between Yorke and Raynor together so wholly. The trio have the audience hanging on their every potent word and gesture, as they sink into the discomfort and trauma of the show’s revelations. Jacob Coleman’s movement direction consistently sheds light the horrors of the Medomsley boy’s experiences without overstepping into disrespect, leading with simplicity, clarity, and the strong stage presence of the three actors to speak for themselves. Motifs sink their teeth into the audience’s imagination and solidify perfectly as Coleman lets ambiguity and carefully considered gesture deliver the loud cry for justice the piece seeks to evoke. Aided by Virginie Taylor’s effective and engaging captions and video design, ‘Bad Lads’ provides an accessible, striking, and resounding message of urgence to push for accountability and recognition.

The simple yet effective beauty of this show is supported massively by Lucía Sánchez’s lighting, and Roma Yagnik’s sound designs, which integrate hauntingly with the bare staging. Moments where additional set are aided by lighting and sound stand out so effectively because of sparing props, set, and additional technical elements. The technical features of ‘Bad Lads’ are close to perfection.

Alongside the forceful gut-punch of acting performances, direction, and technical cohesion, ‘Bad Lads’ also sets a commendable tone across the venue for signposting resources. The respectful messaging and handling of ‘Bad Lads’ challenging themes, set a poignantly high standard for audience care, as well as care for those the piece shares the overlooked and important story of. The whole team should be highly commended for their excellent vision, tenderness, and delivery.

BAD LADS

Live Theatre then UK Tour continues

Reviewed on 7th October 2025

by Molly Knox

Photography by Von Fox

Previously reviewed at this venue:

DOGS ON THE METRO | ★★★★★ | May 2025

PRESENT | ★★★★ | December 2024

GWYNETH GOES SKIING | ★★★★ | November 2024

ST MAUD | ★★★ | October 2024

BAD LADS

★★★½

“an original take on a little-known aspect of wartime women’s intrinsic importance”

Amidst the pomp and circumstance of the official ceremonies, Blue Elephant Theatre contributes an unusual, personal and decidedly yellow touch to Armistice Day with Fun in the Oven’s production of ‘Canary’. When, in 1916, the Government set up the Ministry of Munitions following a shortage of shells, they relied on unskilled workers to fill the factories. This meant that women from all walks of life experienced the war in a very different way from holding the fort or weeping and waiting for their loved ones; they worked together in dire and dangerous conditions, forming friendships and bonds with those they would never normally have met. As a tribute to the hundreds of thousands of Canary Girls, Katie Tranter, Robyn Hambrook and Alys North become Agnes, Anne and Betty.

After setting the scene with film footage of cheery enlisting propaganda we meet the three complementary characters. Agnes is the work supervisor, commanding and outwardly confident: officer’s wife, Anne, escapes from her grand house to volunteer at weekends: young Betty, naïve and illiterate, is the star of the factory’s football team. We are taken along the conveyor belt of bomb-making, into the canteen and down into the air-raid shelter, accompanied by effectively dramatic lighting (Scott Ferguson) and interesting, integrated sound (Roma Yagnik). The show is packed with information and insights. Concentrating on the relationships built, we are drawn into their private world of sharing and supporting hopes, fears, sadness and joy. We learn about their lives from tea-break chats and air-raid confinement – the dangers of TNT, the long working hours, the disgracefully low wages. They discover a freedom to talk about men and physical and emotional intimacy, to smoke and drink. And we also see a fundamental change in attitude when their eyes are opened to their own value and place in society.

Andrea Jiménez’s direction is innovative and fun, making creative use of three tea crates as the only props. But the interpretation is patchy. The actors convey the diversity of class and the sense of unity between them and there are some striking moments like the cordite hallucination sequence and Alys North’s ‘man talk’ but it sometimes suffers from a slightly laboured pace. However, even though the show needs some fine tuning to tighten up this lack of slickness, ‘Canary’ is an original take on a little-known aspect of wartime women’s intrinsic importance, and the humorous dialogue, well-choreographed movement and rousing singing make for enjoyable and enlightening entertainment.

Reviewed by Joanna Hetherington

Photography by Chris Bishop

Tag Archives: Roma Yagnik

BAD LADS

★★★★★

UK Tour

BAD LADS

Live Theatre

★★★★★

“Raynor and Yorke have deeply electric acting chemistry”