A big old teen (sober) dance party that had the audience bopping to the beat.
We all remember what it was like to be a teenager: constant self-awareness, self-importance, self-doubt, self-love, self-centeredness, and a relentless urge for self-exploration. It’s a time when our world shrinks to the size of our families and school corridors, and we cast ourselves as the main characters in a drama only we can fully feel. Ravers captures that exact experience– the ache of alienation and the desperate need to belong. But instead of finding their tribe in rebellion or recklessness, this group of teens discovers it in the most unexpected place: a sober, “neek”-led rave, where being uncool is the new cool.
Part of the National Theatre’s annual Connections Festival, now in its 30th year, Ravers is a celebration of youth theatre at its most energetic and heartfelt. Written by Rikki Beadle-Blair MBE and performed by HOME Young Company (Manchester), the play follows a group of self-described “neeks” (nerd-geek hybrids) as they plan a ‘dry’ rave to redefine what it means to be cool. We dip into their personal lives– playing Dungeons & Dragons, working at a library, loving sci-fi, flirting with science jokes– and witness their shared desire to rebel, belong, and be joyful in an all-identity-accepting space. These narrative beats are interspersed with energetic, colourfully lit dance sequences where the cast shows off not just their moves, but also their musicality, with several members singing or playing instruments live. It’s a vibrant, multi-talented ensemble brimming with potential.
As is often the case with youth theatre, there are areas still in development. Voice projection could be stronger, emotional peaks are sometimes underplayed, and a few monologues land on clichés rather than nuanced feeling. The pacing occasionally dips, particularly in more introspective scenes. But despite these rough edges, the energy is infectious. The cast’s commitment to character and story is clear, and the audience was visibly engaged– especially during the high-energy dance numbers. Beadle-Blair’s script is simple and sometimes leans into familiar tropes, but that feels intentional– it mirrors the earnestness and melodrama of teenage experience, which is familiar to us all. And whilst it’s not particularly inventive, it’s a good portrait of identity in flux, painted in broad strokes that feel recognisable and true.
The technical elements support the piece well. Sound and lighting combine effectively to create a pulsing, rave-like atmosphere. The staging is simple but smart: three mobile panels, decorated with posters reminiscent of the ‘80s punk and emo scenes, pull us into a Gen-Z revival of alternative youth aesthetics. It’s a visual language that feels lived-in and authentic to the performers’ world.
There were some hiccups in the organisation: the audience was only let in at the time the performance was due to begin, and the show started a full 20 minutes late. Still, it’s worth noting the National Theatre’s ongoing commitment to accessibility– the performance was captioned, and the seating was accessible. These thoughtful touches aren’t always a given at youth festivals, and they were a welcome surprise.
Overall, Ravers is a joyful, heartfelt reminder of why youth theatre matters. It’s raw, imperfect, and full of life– just like being a teenager– and the Connections Festival continues to be an essential platform for nurturing the next generation of theatre-makers.
Applications for Connections 2026 are now open:
https://www.nationaltheatre.org.uk/learn-explore/young-people/connections