Girls & Boys at Nottingham Playhouse – review

Girls & Boys, first seen at London’s Royal Court in 2018, is a powerful and compelling piece of theatre conveying a disturbing and thought-provoking tale in a sensitive and engaging way.

Aisling Loftus plays an unnamed woman. Through direct chats with the audience, she tells us how she began carefree, seeking to escape the humdrum and find adventure. At Naples, she declares “I met my husband in the queue to board an easyJet flight and I have to say I took an instant dislike to the man.” But she discovers they make a formidable couple. The relationship is passionate, fiery and they encourage each other to pursue their professional dreams.

Switch scenes and the unnamed woman struggles to overcome her working-class roots to achieve professional success. We see her as a mum with two ‘mimed’ children, trying to balance love, patience, irritation and guilt while grappling with her daughter’s many creations and her son’s determination for destruction. A motif which flows through the piece.

As the story of their relationship unfolds, we realise her partner is not as progressive as he would like to think he is. Various stories are woven into the narrative, underpinning societal understandings for what eventually occurs, as well as giving us indicators of what’s to come: but not justifications, for there are none.

Bare foot, baring her soul and believably taking us on her journey, finding the strength to survive tragedy, Loftus delivers a spectacular performance. What she lacks in polish she more than makes up for in passion. Funny, fascinating and able to transition fluidly from humour to horror, she has the audience gripped. Anna Ledwich’s direction and Chi-San Howard’s movement direction bring the character to life and ensure there is never a stilted moment. The scenes with the children are exceptional. Humorous, heartwarming and haunting, the attention to detail is immaculate.

Dennis Kelly’s writing is sharp and witty, which juxtaposes well with the harrowing nature of what unfolds. Janet Bird’s design, Matt Haskins’ lighting and Harry Blake’s sound all combine to give a truly atmospheric and immersive experience. We soon discover why the scenes are set in single coloured living rooms, devoid of detail.

Girls & Boys is a gut-wrenching piece. What is eventually revealed is brutal and disturbing but it’s delivered in a measured, factual manner, which packs more of a punch than if plied full of pathos. Before his revelation, Kelly has the woman remind us that “this is not happening to you, and it is not happening now.” But these things do happen, with shocking frequency.

The message is potent, society mustn’t shy away from terrible things and deplorable acts. It is an incredibly emotive piece of theatre. The standing ovation and rapturous applause at the end speak for itself.