Broken Boys at Hens and Chickens Theatre, London Review
A touching and original play by Liam David Malcolm, exploring the ups and downs of a relationship between two men spanning twelve years. Broken Boys delves into what it means to grow up gay, and how possible it is to love openly when you’re conditioned not to show your emotions as a man. The play is inspired by clinical psychologist Alan Downs’ book The Velvet Rage: Overcoming the Pain of Growing Up Gay in a Straight Man’s World.
We first meet the boys in 2017, at school. Tom (Lawrence Visconti) is one of the popular, typically masculine, football playing kids, and is bullying Michael (Liam Malcolm), who is “out” and happily vocal about why Tom’s anger towards him is not only unjust, but also projection. The two quickly find themselves entwined in a complicated relationship which is on and off over the years until the conclusion in 2029, cleverly teased at the beginning of the play. The flash forward that the play begins with keeps the play moving with good pace, the projections on the back wall letting the audience know which year we’re in and when time is passing.
Broken Boys effectively works as a memory play, the ever-present therapist/lawyer character, professionally presented by Theodora Taylor, on the side of the stage observing the two men’s interactions. It becomes apparent what her role is and why she is there towards the conclusion of the play, however her presence never detracts from the main action.
The relationship between the two men is volatile and does a good job of exploring the struggles gay men in society go through when growing up and trying to find who they are. There are discussions of labels, fluidity, gender dysphoria, self-harm, and acceptance, both self and external. To pack all of these complicated conversations into a one-hour play must be applauded - the same goes for presenting two complex male characters who very openly talk about their vulnerability, sexuality, and emotions.
However, there are moments where the conversations and arguments feel like they’re being repeated, just in different years and in different scenarios. I wonder if in developing the play, adding other characters could help place the protagonists under alternate pressures which are not each other - further highlighting how connected and compatible they are and adding more shock factor to the ending.
The cast do a good job to keep the pace moving, aided by Robin Halliday’s fantastic direction. The scenes always feel very embodied, the cast usually having a physical action. The staging is clever and well thought out - always full and balanced, really allowing the audience to envision the many different locations and times the play goes through. Malcolm plays the sure of himself yet vulnerable Michael with a patience which easily bubbles over - making the character exciting to watch. Similarly, Visconti plays Tom with a gentleness which contrasts his characters words and actions - further adding another layer to the story. The two have a wonderful chemistry on stage together, furthered by intimate direction from Imogen Cordelia Grover. Taylor’s depiction of the authority in the play is strong and calm, keeping the story in what feels like a safe pair of hands when she finally speaks and concludes the play’s narrative. Although the ending may be seen as cliché – I think it highlights a reality faced by many more men in society than we want to admit. The flashback at the end to conclude both characters’ journeys also allowed for the audience to find a conclusion too – which is perfect for a festival length piece.
Overall Broken Boys is a successful and important one-hour play. And although I’ve never seen Heartstopper, I can understand why it is advertised as “this isn’t Heartstopper but…”. A tender and original story which shines a light on the inner voices and struggles of young men coming to terms with who they are.
Broken Boys was playing on the 14-16th August 2026 at The Hen and Chickens Theatre in London as part of the Camden Fringe.
★★★★
Written by Eloise for Theatre and Tonic, August 2026.
Content Warnings: Mentions of: Self-Harm, Death and Eating Disorders. Depictions of: Bullying and Violent Behaviour.
