Calling all StageSiders, welcome back to another review here at StageSideUK. This time around, we are talking about a production of Yen at The Octagon in Bolton seen on Thursday 4th September, 2025!
The performance is on at The Octagon until Saturday 13th September, before moving to the Alphabetti Theatre in Newcastle, Wednesday 17th to Saturday 20th September 2025.
About the play
Two young brothers live alone in their mum’s flat. On the occasion, she visits often drunk and looking for money. Meanwhile the boys, Hench (16yrs) and Bobbie (13yrs) do what they can to survive and have fun, until young Jenny from across the road pops by to take care of the dog.
“Love is dangerous. Winner of the 2013 Bruntwood Prize for Playwriting, Yen is an explosive look at childhood without boundaries and the consequences of being forced to grow up on your own.” (Taken from Octagon website)
Written by Anna Jordan, and directed by Bolton’s very own Connor Goodwin, the play features and 4-person cast, staged in a small studio featuring former Coronation Street and Emmerdale star, Vicky Binns.
Review
I’m just going to go straight into it, this show was bloody brilliant! It is rare you see studio shows that are able to capture an audience from the get go and have them almost in tears by the end. Every aspect of the show pulled together to bring a heartbreakingly claustrophobic, yet raw performance of a brutal childhood.
Opening with the sounds of porn – yes, you read that right – whilst you awkwardly watch two young boys with their tops off was a bold and voyeuristic choice that could have plummeted the show immediately. Instead, it paid off. The ongoing awkwardness was clear amongst the audience, making us feel on edge, slightly revolted, and yet there was an innocence about the whole thing.
The interaction between the brothers was fun and cringe-worthy, energetic and heart-warming. Hench, played by Adam Owers, was the confused and lonely older brother torn between being a teenager and being the parent to his own brother. Bobbie, played by Jonny Grogan, was his opposite. He is the lover-boy and hyperactive chaos that brings life to an otherwise dull and depressed apartment. The pair working together was brilliant to watch, simply mismatched by their upbringings and accents.
Jenny, played by Lucy Eve Mann, was a surprise addition to the duo that they never knew they needed. Attempting to rescue their dog from being locked up in a bedroom, Jenny is the disruption to Hench and Bobbie’s lives that offers some light and hope. The duo become a trio in a sweet and oddly grown-up way considering their ages.
Their so-called peace is disrupted by the mostly absent mother, played by Vicky Binns, who turns up out of the blue, usually completely drunk. It’s clear she brings tensions, spiting the brothers on their different fathers, only to return to her off-stage boyfriend, leaving them behind again.
Even writing this so far, reminds me how fun yet sad the story is. With a witty script and excellent execution from the cast, it is easy to get lost in a world that seems to have hope and enjoyment as the trio become more independent from the mother. So coming back for the second act, with their worlds about to be turned upside down felt personal.
I’d like to liken this play to watching Adolesence on Netflix, although not as dramatic (in a good way). It tells the harsh truths of what can be learnt at such a young age without the right support. Both of the brothers clearly have ongoing troubles within themselves from past events which ultimately come back to bite them. No matter how, there is a loss of childhood for Hench, Bobbie, and Jenny, in the most unexpected of ways. It’s heart-breaking and you really do feel empathy for all of them.
Honourable mention to the dog-like feral movements and moments that mirror the struggles of their actual dog. I’m not normally one for animal-esque movement between scenes but in this case I think it was fed throughout with actions and language well enough to make it understandable and almost necessary. Hench was clearly the alpha big dog, but really the softie, and Bobbie the puppy who is unintentionally trained to have a bite.
Yen Stage Design and Scenography
There isn’t too much to talk about here. There are always limitations with studio spaces which is why you may often find fringe-like or basic plays in studios, but this was anything but. Little decoration was used to create the set-up of the main flat that featured a small single bed, back board, a chair, and a window. Oh, and don’t forget the PlayStation. It was simple, no bells and whistles, and did the job to create the claustrophobic setting I believe they were going for. As a set designer I might have liked some of the actual decoration to be a bit more character revealing but otherwise it achieved what it set out to, and this is just me being picky. There were some flashing lights at times for a scene change or two, which may have been a little aggressive but aided the growing tensions.
Star rating
I couldn’t not give it five stars. Yes there were some niggly bits if I was being picky, and I acknowledge the limitations of a studio space. That said, I think it was perfect for the more intimate setting and I’m glad they didn’t feel the need to make it bigger. I came out singing the play’s praises, everything from the performance, direction and writing. All of it pulled together for an excellent viewing and a show I would definitely recommend if it’s on near you! It is theatre that makes you feel all emotions, think deeply about topics and go away in awe at the story that has just unfolded. I would have happily watched more.
Accessibility
The play touches on some hard-hitting topics and given the nature, and era, it does unfortunately have some derogative slurs for all kinds of people. I do believe there is intent for these though and it adds to the characters. The play has a clear message throughout that highlights the wrongness of the words in the script, they are purely for the fiction. Also, having felt like I got to know the characters, I don’t believe they were said with fully harsh intent but instead came from a place of lack of education and parental ignorance.
In terms of loud noises, watch out for that Jonny Grogan, he has got a mouth on him and managed to make me jump in the first 5 minutes. Other than his odd loud shouting there are no other notable noises, unless you get squeamish at the sound of people having staged sex on a laptop.
There are a couple of moments where strobes are used in scene changes, or flashing lighting. They are over quite quickly which you can spot from the dialogue starting again. I didn’t notice any signs up for any of this around the theatre building. Perhaps I missed it. Either way I think the theatre itself could do with putting up a few more warnings just in case.
Warning: if you sit on the front row, you might be hit by a pillow or something, for a more 4D experience.
Value for money
Ticket prices at The Octagon for this show are £18 (concessionary and student prices also available) which I believe to be a great price for such a great show. It is standard pricing no matter where you sit with good viewing all-round.
Tickets and more information about the show are available here.
Have your say!
Have you seen Yen? Let me know in the comments and let’s get a discussion going.
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Featured images have been referenced and are used in line with fair usage, in the copyright act. All photos provided by Divided Culture Co. & The Octagon.
Jonathan Harper