Writer: Conor Hunt
Director: Tom Bellerby
Growing older and growing up are not necessarily the same thing. In Conor Hunt’s Boyhood, 17-year-old Jay faces unexpected fatherhood before he has fully understood what it means to be a man. Presented by Attic Theatre Company, the play examines the gap between the masculinity young men are expected to display and the emotional maturity they are rarely taught to develop.
The production’s most interesting tension lies in this contradiction. Jay must navigate the confidence of adolescence alongside responsibilities that cannot simply be avoided. Rather than treating fatherhood as a convenient dramatic turning point, the story asks a more uncomfortable question: what happens when someone is expected to take responsibility before learning how to express vulnerability?
Tom Bellerby’s direction uses a two-person format to establish a wider network of characters and relationships. The approach is economical and often engaging, although the transitions occasionally draw attention to the mechanics of storytelling rather than the emotional reality beneath it.
Kate Donnachie brings energy and versatility to the changing characters, helping sustain the production’s momentum. Dia Peters brings commitment to the role of Jay, though some emotional transitions could be more finely shaded, which occasionally softens the impact of his internal conflict. This is particularly noticeable in a play that depends on the contrast between outward confidence and private uncertainty.
The live music, composed by Conrad Murray, is one of the production’s strongest elements. It brings energy, rhythm and atmosphere to the performance while remaining closely integrated with the action on stage. The singing is also excellent, with Donnachie delivering the vocal passages beautifully.
Boyhood is strongest when it challenges assumptions about masculinity rather than simply depicting the difficulties of adolescence. Its engaging narrative and inventive theatrical approach offer plenty to consider, but the central performance does not always give its ideas the dramatic weight they deserve. Nevertheless, it remains a thoughtful production with a distinctive perspective on growing up.
Runs until: 31 October 2026
