REVIEW | Boy Parts, Soho Theatre
Written by Bronagh
*Disclaimer: Gifted tickets in return for an honest review
If you’re an avid reader, or active on BookTok, you will likely have heard of Eliza Clark’s debut novel Boy Parts. The critically acclaimed bestseller has now hit the stage of the Soho Theatre, adapted by Gillian Greer and a one woman show, promising eighty minutes of thrilling entertainment.
I will preface this review by saying I am a huge fan of the novel. As a Newcastle native, I thoroughly enjoyed reading Boy Parts for the first time and trying to figure out locations, and feeling a buzz when places that I have frequented myself got a mention. If you are going to the show having never read the book, do bear in mind that a fair bit is missed out and so you won’t get a full insight into the story. A lot of integral parts were missed, however, this didn’t particularly hinder my enjoyment of the show at all.
The show starts with cinema titles rolling, accompanied by images of bloodshot eyes. We’re about to watch a feature film, cast, directed and written by Irina Sturges. There is a single black stool as a prop, the rest of the show coming to life through Aimee Kelly’s electric performance as Irina. Sound and light come into play, with flashes for photographs being taken and beeps of a cashpoint register and the jingle of a cat bell.
Irina has been obsessed with cameras for as long as she can remember, from stealing disposable cameras on holiday up until buying a flashy professional camera in Leeds. As an art school graduate her photographs are gruesome and exploitative, focusing on her fascination with the male body, primarily that of young males. Irina has no problem picking up these young men - from Tesco checkouts, outside Dixy Chicken, on the Metro - knowing that she is attractive enough for them to do whatever she wants them to do. She has morbid visions of glass piercing their skin and capturing the moments with her camera or iPhone. An email lands in Irina’s inbox inviting her to be exhibited in the trendy Hackney Space, which is where the story really starts to pick up speed.
Aimee Kelly is a fantastic casting of Irina. A Newcastle native herself, she transforms into the sharp tongued, dead pan Irina perfectly. Much like book-Irina, the audience isn’t too sure whether we can trust Irina – is she a vicious murderer or is she morbidly creative? This is never clear, and we are left to make our own minds up. Kelly has the audience hooked, and we wait for her next devious step, her next outrageous thought, her next insult.
This is a one woman show, with Aimee Kelly playing the parts of Irina, Flo, Flo’s boyfriend Michael, the models and various other men. Her accents are on point, from Flo’s screech to Michael’s Scouse accent. Similarly to the novel, I feel sorry for Flo – who Irina describes as ‘the social equivalent of herpes’ – who panders to Irina and tells her often how much she loves her. Readers of the novel will know that Flo has her own blog where she talks about interactions with Irina and her feelings towards her; it’s a shame that this was omitted from the stage show, I thought this was a great part of the novel.
This is a great adaptation of Eliza Clark’s novel, which has been done brilliantly. Some parts are plucked straight out of the novel, whilst changes are made to others. Boy Parts successfully explores power dynamics and sexuality, keeping us hooked and waiting to see what on earth Irina does – or doesn’t do – next.
Boy Parts plays at the Soho Theatre until 25th November 2023.
★ ★ ★ ★
