Boy Parts, an adaptation of the book of the same name, mixes an intense solo performance with fantastic staging to produce a show that pushes the boundaries in this darkly comic drama.
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“Despite its graphic subjects and its violent and often morose narrator, ‘Boy Parts’ balances the horror and humour of the female and non-male experiences with equal grace. With such a tactful and adroit adaptation, one can only hope this team comes together again in the future.”
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“It’s eerie to say the least, thanks to a feast of stylish visuals from Hayley Egan’s haunting video design to Tom Foskett-Barnes’ hypnotic soundscape. It’s also thematically darker than anything else you’re likely to see in the West End this Halloween.”
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“For such an erotically charged tale, this is infuriatingly unsatisfying theatre.”
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“Sarah Joyce’s production, on Peter Butler’s dark bare set, is slick and efficient, with Kelly making good use of the space...It’s a strong evening, but not a visceral one.”
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“Although it’s breathlessly compulsive, edge-of-your-seat stuff, I’m not sure, ultimately, what the point of ‘Boy Parts’ is...but this is unquestionably a striking piece of theatre, powerfully presented, with a sense of palpable discomfort that sticks to you long after the show is over, like that nightmare you can’t quite shake off. Approach with caution.”
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“ ‘Boy Parts’ successfully delivers what it set out to do; exploring the complexities of female sexuality, desire and power dynamics.”
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“Gill Greer’s script is to the point, in around 80 minutes there is enough space for the story to unfold without getting lost in trivialities. Under the precise direction of Sara Joyce, Aimée Kelly (Irina) manages to captivate us completely.”
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