THE OLIVE BOY
Southwark Playhouse Borough
★★★★
“a punchy yet poignant reflection on life after loss”
Grief takes many forms. For writer performer Ollie Maddigan, it’s his debut play ‘The Olive Boy’ – a frenetic yet powerful portrait of a teen wrestling with the sudden loss of his mum. Inspired by true events, the piece deftly melds humour, sex, pain and hope as the Olive Boy learns to live again.
Fifteen-year-old Olive Boy – nicknamed after born a little green – crash lands in a new life and school after his mum’s sudden death. Though what starts as a banterous, hormone-drenched tale of fitting in is repeatedly derailed, forcing him to confront the unwelcome truth. As horny as it is heartbreaking, you’d be wise to bring tissues – they’ll come in handy one way or another.
Presented by Free Run Productions and Shoddy Theatre, Maddigan’s one-person play is commandingly written, tightly constructed and full of layers. Swagger collides with awkwardness; grim events are undercut by jarring cheer; a wildly irreverent tone conceals devastating gut punches. Most impressively, complex mental defences are rendered with startling clarity, and real experiences are dramatised with flair. It’s also outrageously funny, albeit firmly in teen humour territory – think ‘The Inbetweeners’ but with more thrusting and retching. Thankfully, hyper horny teen bravado gives way to a “sweet pure boy” in the end.
That said, a few tweaks could make the piece even punchier. The Dalek-esque interrogations could be developed further as the play progresses. The final monologue to mum, though undeniably heartfelt, skirts cliché – especially with its choice of music. Peripheral characters remain 2D, particularly the nameless female love interests, and dad only comes into focus in the closing section. Still, the core of Olive Boy’s inner struggle is deftly captured.
Scott Le Crass’ astute direction sharpens the show’s contrasts, with elastic pacing and well judged physicality driving each tonal shift. The movement direction is equally skilful, ranging from farcical exaggeration to unembellished sincerity. The surprising opening scene yanks us straight into the story, though I wonder whether the fading audience involvement is intentional. Still, the overall staging is fluid and impressively polished.
A couple of slight technical falters, such as mistimed light cues and freezes in the final video, briefly knock tonight’s flow, but overall the design really brings this slick one-hander to life.
The stripped back set design – essentially a single green chair – keeps the focus firmly on Maddigan and gives him free roam of the space. Before long, the sparseness disappears into Maddigan’s oversized presence and sharp tech design.
Adam Jeffery’s lighting design makes masterful use of a deceptively simple setup, shifting through an impressive spectrum of moods with real creativity. The occasional flare straight into audience eyes is a little blinding, though could be intentional in those disorientating moments.
The sound design is carefully crafted, weaving in music and effects at just the right moments. That said, the final music choice feels a touch cliché in an otherwise raw moment.
The Olive Boy’s simple school uniform pleasingly reinvents itself through subtle tweaks. Though someone please cut the tacking stitch on the jacket!
Ollie Maddigan delivers a standout performance as The Olive Boy, pairing slick humour with an elastic, Jim Carrey esque physicality. His range is undeniable, snapping between characters with precision – even if many of them are more pastiche than subtle portraits. His comic timing is razor sharp, instinctively knowing when to skewer a moment and when to let the tension breathe. In a brief burst of ‘The Music of the Night’, he even reveals a confident singing voice. Ronni Ancona’s distorted Voice adds a pleasingly menacing jolt of disorientation.
‘The Olive Boy’ will make you laugh and cry, delivering a punchy yet poignant reflection on life after loss. Maddigan’s talent is unmistakable so catch him while you can!
THE OLIVE BOY
Southwark Playhouse Borough
Reviewed on 16th January 2026
by Hannah Bothelton
Photography by John Blitcliffe
