★★★★★
Written by Anna Jordan and produced in association with Divided Culture Co., Yen, recently made its Newcastle debut at the Alphabetti Theatre as part of its highly anticipated return to the North of England for the first time in over a decade.
The “era-defining” Bruntwood-prize winning play, tells the story of two brothers Hench (Adam Owers) and Bobbie (Jonny Grogan). They live alone and spend their time watching porn, playing on the PlayStation and attempting to look after their pet dog, Taliban. Essentially, both boys appear to be the product of a “Broken Britain”: battling with their own inner demons, masculine identity and a system that has let them fall through the cracks.
Their mum, Maggie (immaculately performed by soap star Vicky Binns) has moved out to live with her new partner “Minge-faced Alan”. She occasionally visits her sons, often greeting them by passing out drunk in the front garden. However, everything changes for the boys when concerned neighbour, Jenny (Lucy Eve Mann), knocks on their door, offering them some care, love and hope.
In character from the minute you enter the theatre, Bobbie can be seen sleeping on a stained mattress whilst Hench plays violent video games. Both of them are surrounded by empty crisps packets, deodorant cans and stale socks, reminiscent of many teenage boys’ bedrooms.
Then, the action really begins, quite literally as the two boys are seen watching porn; objectifying women; making offensive remarks and using slurs. This is particularly powerful. The carefully placed dialogue here allows for the opening of this play to provide an honest snapshot into the realities and views of some young, working class males who have become casualties of the aforementioned “Broken Britain”. It manages not to be contentious or patronising in its tone, which was clearly appreciated and well-received by the audience.
Owers and Grogan have a remarkably convincing rapport; they prove themselves to be highly skilled and fine acting talents from start to finish. Owers plays the moody, more nuanced Hench with such care—nothing gets lost in translation. Grogan compliments the refined work of Owers with his boisterous charisma and charm. Bobbie is fun-loving and has been sheltered too much. Hench wasn’t sheltered enough and has had to grow up much quicker than his brother.
Binns as Maggie is completely compelling. She is a powerhouse and provides some of the best drunk acting you will ever see! You feel sorry for her yet enraged by her; you want to like her but you also want to loathe her. Lines such as: “no one knows what it is like to walk in my shoes” don’t feel contrived. Instead, they land beautifully, leaving you with literal goosebumps—another testament to Binns’ phenomenal execution.
The character of Jenny brings the play’s final strands together. She is also fascinating and multi-dimensional with Mann slotting in well during the play’s final moments. This is a character that moves the storyline on, as she signifies the possibilities of hope and joy that can begin to appear accessible when one chooses to accept help from others.
The staging is also exceptional. Minimal but still exceptional. The transitions throughout are wildly clever with Hench and Bobbie transforming into stray dogs—a clever metaphor for the way in which society can disregard and ostracise this type of young, working class boy by labelling them as “feral” or “directionless”.
Finally, to the play’s ending. It ends abruptly with Jenny and Hench potentially arranging a date for the near future. However, it is this ambiguity and lack of clarity that makes the ending so bloody right for the show. Yen’s standout feature is that it is nothing but honest and raw. If everything was wrapped up with a nice shiny bow Yen would lose its authenticity.
In short, Yen skilfully explores a forgotten generation—young people who have fallen through the many cracks of “Broken Britain”. It is painful but refreshingly and unapologetically brutal. It doesn’t polish anything off or tie up the loose ends making it all the more real. The cast are stellar, the staging clever and the dialogue cogently sharp—it really is a flawless production!
Yen was performed at Newcastle’s Alphabetti Theatre from 17-20 September.
Words by Cory Gourley
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