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

BAD LADS

NO PLACE LIKE HOME at Edinburgh Festival Fringe

★★★★

“fresh, unique and totally compelling”

No Place Like Home, written and performed by Alex Roberts, fuses music, dance, spoken word and video design to explore gay club culture and the impact of shame on queer identity and community. Roberts performs a visceral, lyrical text, telling the story of young gay man Connor who meets Rob, an older gay guy who works on the bar at a local club. Connor is fresh to the scene with less experience and is looking for guidance. Maybe Rob will be able to help with that. But having a healthy relationship with your sexuality and even potential partners is hard when the spaces you need are difficult to find.

Roberts’ text is beautifully nuanced, witty, funny and deeply emotional. He practically sings through parts of it, creating a lovely rapport with the audience. This pays off hugely as the story progresses and things become darker; more vulnerable. By the end of the show, Roberts’ face is smudged with tears; the music, movement and story all build to a difficult climax. Still, there is ambiguity in the text, and the show is less a preachy message singing to the converted, rather instead exploring the complexities of queer sex culture.

Video sometimes feels like an add-on, or a replacement for set which doesn’t always work, but that’s definitely not the case here. Virginie Taylor’s video design in this is superb. It’s a vital part of the storytelling. Human bodies dance and rave, immersing Roberts in the club space, with flashes of neon-coloured lights and sparkles. Roberts effortlessly transitions between the two central characters, the flick of his cap and adjustments to his voice and body language making the switch. Connor is light and vulnerable. Rob is tougher, more grounded and confident.

Underneath the smoke, and Jac Cooper’s electric sound design and composition, is an exploration of the play’s title; a question of what or where is home, as we witness Connor’s attempt to find it. At one moment, during the club’s stripping contest, Roberts removes his shorts and jacket to reveal a Dorothy dress underneath. The imagery of Dorothy clicking her heels appears at another moment, projected onto the background. It’s a clear motif that runs really nicely throughout the show.

At the risk of telling a story that’s been told many times before, Roberts avoids this by presenting something fresh, unique and totally compelling. He’s a brilliant storyteller, and the blend of artforms in this show makes it very special indeed.

Tag Archives: Virginie Taylor

BAD LADS

★★★★★

UK Tour

BAD LADS

Live Theatre

★★★★★

“Raynor and Yorke have deeply electric acting chemistry”