“A raw reflection on young men’s mental health, blending contemporary dance, theatre and spoken word to capture the struggle for connection in a world of isolation.“
As part of their UK tour this spring, Yorkshire-based dance-theatre company Northern Rascals presents Sunny Side — an emotive performance that fuses theatre, contemporary dance and spoken word to explore the complex landscape of young men’s mental health. Premiering at The Place on 8 April 2025, the show offers a candid portrayal of coming-of-age in a world where vulnerability is often frowned upon.
Touring in partnership with Andy’s Man Club, a men’s mental health and suicide prevention charity, Sunny Side was developed from the real-life experiences of 1,420 young people across the UK. That commitment to authenticity is felt throughout. The struggles depicted on stage aren’t sensationalised depictions of depression, but rather grounded in the quiet, persistent challenges of everyday life. The alarm clock blares endlessly, marking the passage of time in a constant, seemingly futile cycle and these familiar rhythms evoke a sense of universality in the struggle – Monday after Monday after Monday.
The set design is minimal — half the stage becomes a bedroom, bordered by broken barbed wire, while the other half remains bare. This simplicity is striking, emphasising feelings of isolation and division, heightened further by evocative lighting. A flickering lightbulb, a lone streetlamp, and the soft orange glow through a closed window and a closed door. All serve to create stark, emotional moments. Shadows are also used skilfully, with performers dancing in and out of the dark and casting silhouettes through windowpanes in subtle but evocative moments.
Sound design plays a crucial role in establishing the show’s tone. From the grating iPhone alarm to the rhythmic thud of dancing feet, the soundscape builds emotional texture. There’s an undercurrent of political commentary in the background, suggested through snippets of news broadcasts, though this feels underdeveloped — the intent is clear, but it doesn’t quite land. More successful are the rare moments of live dialogue, occurring just twice, each one poignant: a howl of jubilation through an open window during a moment of togetherness, and a pleading call of a friend’s name. These moments stand in stark contrast to the rest of the performance, accentuating the fleeting moments of emotional release.
Soul Roberts’ performance as K is a standout. His portrayal is raw and authentic, carrying the audience through moments of despair, frustration and desperate yearning. Sophie Thomas and Ed Mitchell offer a much-needed contrast, bringing levity and vibrancy to the stage.
Sunny Side’s central narrative is clear and affecting, speaking of the mental health struggles and isolation of young people today. The show attempts to weave an additional narrative about the duality of a town – indigenous roots versus gentrification – but this element feels somewhat lacklustre and underdeveloped. Likewise, the show relies heavily on metaphors, some a touch heavy-handed or slightly missing the mark.
Sunny Side reaches its most powerful moments through movement — the choreography is fluid and expressive, conveying its message powerfully and capturing the nuances of mental health in a way that’s both delicate and forceful. The spoken word interludes are another highlight: raw, accessible and personal. The poetry paints a clear picture of a young man trapped in his own home, aching for a moment of connection.
In all, Sunny Side is a thought-provoking exploration of the struggles that young men face in today’s world. With an emotionally charged performance and evocative creative choices, it shines a light on a topic that is often left in the shadows. It’s an honest portrayal of mental health, and one that will continue resonating with the audience long after they’ve left the theatre.