Exorcising the Truth: Radiant Boy and the Ghosts We Carry
Nancy Netherwood’s Radiant Boy makes its world premiere at Southwark Playhouse Borough, and from the off, it’s clear this isn’t your average debut, writes Luigia Minichiello.
Set against the stark, snow-covered backdrop of 1983 North-East England, the play dives headfirst into themes of faith, identity, queerness, and connection. It is bold, lyrical, and deeply atmospheric — a confident, emotionally charged piece that firmly establishes Netherwood as a fresh and vital voice in British playwriting.
With just four actors on stage and a minimal set, Radiant Boy leans entirely on character, and this cast does not disappoint. The performances are raw, honest, and completely exposed, matching the intimacy of the space and the depth of the script.
At its heart is Russell, a teenage boy with dreams of being a singer. His mother, Maud, convinced that he’s possessed, summons a priest to their remote home. What unfolds is less an exorcism and more a spiritual and emotional unravelling — of Russell, of Maud, and of Father Miller, the priest who arrives unsure of whether he’s dealing with mental illness, spiritual disturbance, or something else entirely.
Stuart Thompson gives a beautifully measured performance as Russell — vulnerable, restrained, and quietly magnetic. He brings the character’s internal battle to life without ever overplaying it. Thompson, who previously won the Critics’ Circle Jack Tinker Award, is absolutely one to watch.
Wendy Nottingham is just brilliant as Maud — tight-lipped, brittle, and quietly unravelling. She resists making Maud a villain. Instead, we get a portrait of a grieving, terrified mother, desperately trying to save her son in all the wrong ways.
Ben Allen brings a subtle complexity to Father Miller, who finds himself unsure whether Russell’s struggle is spiritual, psychological, or something in between. Father Miller initially wonders if Russell is simply a lonely, isolated boy who has manifested this situation out of desperation. But as he witnesses the strange effects of Russell’s powers, he begins to suspect something deeper — a ‘splinter damaging his soul’. In confronting this demon, he finds Russell and the ‘spirit’ share a connection through music, dance, and sexuality. The question then becomes: how can Russell be freed, and does Father Miller truly have the tools to do it?
Renée Lamb is a real standout, playing both Steph and “The Voice” — a spectral presence who haunts and guides Russell through his journey. Her voice work is eerie and moving, heightening the dreamlike, otherworldly feel of the play and when joined with Russell they are truly spooky.
Despite the intensity, Netherwood has found space for dark humour — there are genuine laugh-out-loud moments that release the tension just enough.
The haunting end to the first half left the audience audibly gasping — no spoilers, but it’s a moment that lingers. The second half picks up without losing momentum, keeping the tension high as the emotional and supernatural stakes deepen. An unnerving selection of ‘80s tracks threads through the action, adding atmosphere and amplifying the unease right through to the final moments.
Radiant Boy is not just a coming-of-age tale — it’s a reckoning. With faith, with family, and with the truths we’re told to bury. Strange, tender, and unforgettable.
Southwark Playhouse Borough, 77-85 Newington Causeway, London, SE1 6BD until 14th June. Times: Mon – Sat 7.30pm, 3pm Matinees Tue & Sat
Booking and full details: https://southwarkplayhouse.co.uk/productions/radiant-boy
