A new show exploring young men’s mental health, grief and masculinity was performed in Islington last month.
Boyhood, written by Conor Hunt, 32, from northwest London, took the audience through the coming-of-age story of Jay, a 17-year-old who experiences unexpected fatherhood and then grief from baby loss.
Throughout the play at the Pleasance Theatre, stereotypes and societal pressures on masculinity are challenged.
Actor Dia Peters, 21, from Hackney and actress Kate Donnachie play various characters, all giving their perceptions on how Jay should behave and influencing his character development.
A big theme was grief, with Conor’s friends having experienced miscarriage, stillbirth and baby loss.
While hugely common, Conor said we rarely see the male’s perspective.
He said: “The only kind of narratives that we see about young male grief tend to be gun violence.
“We see female grief, trauma, motherhood, but male grief isn’t talked about or something we’re comfortable with because it involves men crying. Which is s***.
“We hope that young men don’t see their adolescence and go, ‘that’s my eventuality.’”
The conversation on men’s mental health and emotions has increased recently, but Conor feels we still have stereotypical beliefs.
A common comment he hears is “not being man enough”.
Peters added: “If we want a healthy society, we need healthy relationships with our emotions.
“If you can’t be vulnerable as a man, how or where are you going to put all your pain and trauma?”
The actor added that toxic environments breed the idea of many men wanting “to be hardcore”, but he thinks what’s most important is doing what’s right and feels right.
Examples of the current toxic culture are a Louis Theroux Manosphere documentary, trending news on the Tate brothers, and the 2025 Netflix hit Adolescence.
Peters said: “Jay’s very explosive but we’ve all done things that we look back on and regret.”
Boyhood tried to bring hope to the audience and express the idea that change and moving on is possible.
Forgiveness is another key theme, as Jay tried to make amends for what happened even if it didn’t end in ways he wanted.
Directed by Tom Bellerby, Attic Theatre Company partnered with the Boyhood collective, a creative group of five young men aged 18 to 25.
With the help of Composer Conrad Murray, Boyhood opened the theatre to a younger audience and reached them through live hip-hop music and rap, bringing an edge and providing engagement.
Peters said: “I was quite reckless at some points, as are many young men. I learnt a lot at 17, I’ve made a good batch of friends, so I was very lucky.
“The biggest lesson I’ve learned is self-belief.
“When people come out of a theatre questioning life, their journey and others’ journeys, I feel like the show has done its job.
“It’s just about being a good person. Everyone has their own personal battles.”
His message for the black youth is to take time for themselves, not judge themselves and be true.
In the play, Jay said: “Being a man isn’t about being a boring prick, or quieter, or perfect.
“It’s just showing up, getting up, dismissing what anyone else thinks and deciding to thrive instead of surviving. And I can do that.”
Later, Jay’s dad opens up to his son and said: “You think you’re hiding it, with the jokes and bravado with your mates, but I’m not blind. And I don’t tell you this, but I’m proud of you.”
The recognition from a previous generation is important, and as he goes in to hug Jay, it reduces the discomfort surrounding affection between men.
The epiphany Jay reaches as the play ends is “if everyone keeps saying ‘I need to be a man’, I’ll do it my way”.
Conor said: “Show up for your friends, boys, kids, nephews, sons, we need to stand with young men rather than behind them.
“These stories don’t get told, and if one young lad comes to see the show and thinks, ‘I’m not on my own with this’, then we’ve won.
“There is hope at the end of it.”
Featured Image Credit: Kit McCarthy, thanks to Attic Theatre Company
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