Review: BIG MAN. LITTLE MAN. (The Other Palace Studio)
Review by Cat Wiltshire
⭐⭐⭐⭐
Society has long taught boys to be tough, hide their emotions, and face their problems without complaining. But what happens when the very expectations placed on young men prevent them from asking for help when they need it the most? Exploring masculinity, vulnerability, coercive control, and experiences of young people with special educational needs and disabilities (SEND), Mark Harrington’s BIG MAN. LITTLE MAN tackles a subject that is rarely given the attention it deserves. Staged at The Other Palace Studio, this thought-provoking drama challenges audiences to question not only how we recognise abuse, but also whose suffering we are prepared to acknowledge.
At the centre of the story is Tony Martin, played by Moses Azadeh, a teenager navigating the familiar difficulties of adolescence, from friendship and first love to discovering who he is. However, when a relationship at school begins to develop into something increasingly controlling and destructive, Tony finds himself in a situation he struggles to understand, let alone explain. The relationship takes a darker turn, and the play explores how easily manipulation can be mistaken for affection, especially when someone lacks confidence, experience, or support to recognise the warning signs. The result is a deeply uncomfortable examination of consent, power, and the devastating consequences of failing to listen to vulnerable young people.
What makes BIG MAN. LITTLE MAN. particularly interesting is the experience behind its creation. Writer Mark Harrington has spent more than a decade working with young people with special educational needs, and the play draws on the experiences and challenges he has encountered throughout his career. According to the playwright, the inspiration came from a young person asking why people like them were not represented on stage. Rather than treating SEND as a peripheral issue, Harrington places the experiences of a vulnerable teenager at the heart of the drama, confronting the uncomfortable reality that young people can be particularly susceptible to manipulation when those around them fail to recognise or understand their needs.
The writing is built around a compelling idea: vulnerability does not make someone weak, and being male does not make someone immune to abuse. Mark Harrington challenges the traditional expectations of masculinity, including the idea that boys should be capable of protecting themselves or dealing with emotional difficulties independently. The play’s central message, encapsulated in its tagline, ‘because boys break too’, is especially important when considering how male victims of coercive control are often overlooked. For young people navigating their first relationships, the difference between affection, dependence, and control is not always obvious. By exploring these blurred boundaries, the writer raises important questions about safeguarding, communication, and the responsibilities adults have to recognise when something is wrong.
An interesting part of the writing is its exploration of what happens when someone finds the courage to speak. The question “You do believe me, don't you?” sits at the heart of the intention of the piece, shifting focus from the experiences of abuse itself to the response of those entrusted with protecting vulnerable individuals. In this respect, the play's relevance extends beyond its immediate narrative, raising questions about how society responds to young people struggling to make themselves heard. Mixed in with all the intensity are some extremely funny moments written in a language that young people can relate to; in fact, Mark Harrington should be proud of the particular accomplishment of writing dialogue for a younger generation that was spot on, relatable and never felt false or cringey.
Under Jordan Langford's direction, the production faces the considerable challenge of bringing such emotionally difficult material to an intimate studio setting. The subject matter demanded sensitivity, and the studio setting created an environment where the character-driven story felt especially immediate, with little physical distance separating the audience from the emotional realities being explored.
The small cast saw Moses Azadeh taking on the central role of Tony Martin, with James Crouch appearing as Matt Turner, the teacher Tony could turn to. There we had the only onstage actors: our big man and our little man. Shannon Rawcroft provided the voice of PC Palmer, booming into the room as an impartial voice that prompted both on-stage characters, Tony and Matt, to tell their side of the story.
Moses Azadeh delivers a superb performance as Tony, demonstrating impressive versatility as he moves effortlessly between laugh-out-loud comedy and deeply affecting emotional vulnerability. His comic timing is strong, with some of the more lighthearted exchanges reminiscent of the awkward, irreverent humour of The Inbetweeners. Yet it's at the play's dark moments that he truly excels, peeling back Tony's bravado to reveal a frightened young man struggling to make sense of his circumstances.
One scene stands out as Tony receives bad news and completely loses control, erupting into an almost tantrum-like display of fear, frustration, and despair as he lashes out, tearing through the stage and destroying much of the set in an explosive emotional breakdown. His performance is extraordinary. There is something incredibly raw and authentic about the outburst, with physicality conveying emotions his character simply can't put into words. Moses handles dramatic shifts from tragedy to humour with exceptional skill, delivering a performance that is as convincing in its humour as it is in its heartbreaking vulnerability.
The production brought together a creative team including production designer Justin Williams, lighting designer James Dean, and sound designer Ernie Acquah. The design did much more than establish the physical environment. Changes in lighting, sound, and use of space reinforced shifting relationship dynamics, particularly as feelings of safety and trust give way to uncertainty and fear. Subtle lighting changes were key to keeping the narrative and its emotional implications at the centre.
BIG MAN. LITTLE MAN. is a powerful and deeply affecting piece of theatre that tackles an important and often overlooked subject with sensitivity, honesty, and moments of welcome humour. Mark Harrington's thoughtful writing, combined with great performances, especially from Moses Azedah, brings both authenticity and emotional weight to the production. While the play is difficult to watch at times, its exploration of the subject matter makes it an essential and timely piece of theatre.
BIG MAN. LITTLE MAN. played at The Other Palace Studio on 15th October.
Photos by Mollie Proctor