REVIEW: BIG MAN. LITTLE MAN. @ THE OTHER PALACE

🎭 Big Man. Little Man.

📍 The Other Palace Studio, 12 Palace Street, London, SW1E 5JA

🗓 Thursday 15th October 2026

⭐️ 4 Stars

SMALL STUDIO, HUGE HEART

I'm always excited to be invited to review a brand-new piece of theatre, and let’s be real - writing a play about the messy, often overlooked intersection of neurodiversity, male vulnerability, and the education system is a massive gamble. It can so easily trip up over its own good intentions and slide into preachy, school assembly territory. But Mark Harrington’s BIG MAN. LITTLE MAN., which just wrapped up a blink-and-you-miss-it, sold-out showcase at The Other Palace Studio, completely sidesteps the clichés and hits you right in the gut.

Harrington spent a decade working with young people with SEND (Special Educational Needs and Disabilities), and honestly, it shows in the best way possible. The dialogue doesn’t feel like a middle-aged writer trying to guess how "kids these days" talk. Instead, it’s sharp, incredibly authentic, and handles neurodivergent traits like ADHD and OCD with a rare, lived-in sensitivity that never feels tokenistic or forced. The truth in both the writing and the performances is palpable.

At its core, the piece is a masterclass in the two-hander dynamic. We follow Tony, a neurodivergent teenager trying to navigate the absolute minefield of first love, and Matt, the teacher trying to keep him afloat. The chemistry between these two is just beautiful to watch. It’s this incredibly fragile, beautifully observed mix of professional boundary-keeping and a makeshift father-son bond.

Sitting right on the front row, there was nowhere to hide, and honestly, the sheer proximity to that raw emotion was overwhelming. You could practically feel the anxiety vibrating off Moses Azadeh. His portrayal of Tony is an absolute revelation. It is so fiercely truthful, masterfully capturing the exhausting, physical manifestations of ADHD and OCD without ever tipping into caricature. Opposite him, James Crouch is the perfect anchor, grounding the piece with a quiet, exhausted warmth that breaks your heart by degrees.

And speaking of heartbreak - oof. The real emotional gut-punch of the evening comes when the outside world intrudes and Matt is ultimately taken away from Tony. Watching that central support system get ripped out from under a vulnerable kid is devastating. In that moment, the sudden, empty chasm left on stage mirrors the exact tragedy of how our institutions fail the people who need them most. Crouch handles Matt's exit with a heavy, helpless dignity, while Azadeh's spiralling distress makes you want to reach out and pull him out of the fire yourself.

I have a friend who works in a similar school to the one depicted here - although she works with younger children - so I was already aware and understanding of the barriers that these institutions put up between child and teacher. But seeing it weaponised on stage like this, it's a completely different beast. Where the play really forces you to lean in is when things get dark. What starts as a standard coming-of-age story spirals into a high-stakes look at consent, control, and institutional failure. It asks some seriously uncomfortable questions about who our society decides is worth protecting when the system breaks down.

It's not quite yet a perfect production, but for a workshop piece, it's pretty darn close. The technical side of things felt a bit heavy-handed for such an intimate space, with the musical transitions between scenes feeling a tad too melodramatic. Although I feel it worked better than having a third actor on the stage, the disembodied police voice used in the interview segments took me out of the realism a little bit. There was a bit of messy crossover talking. But look, this was the very first performance so it was entirely forgivable.

But honestly? Those are minor, fixable gripes for a show with this much promise. As an early-stage workshop, BIG MAN. LITTLE MAN. is a vital, gripping, and deeply moving piece of modern theatre that tackles masculinity from an angle we desperately need to see more of. Keep your eyes peeled for wherever this goes next.

Not only is this an incredibly important piece of theatre, it has the potential to be an absolutely huge hit.

Neill Kovacic-Clarke

All views are my own and I pride myself on being honest, fair and free from influence. Theatre is subjective and it is important to remember that all views expressed are just those of one person.

My ticket for this performance of Big Man. Little Man. was gifted by Matty Hurst Productions, who invited me to watch the show in exchange for my honest review. The fact that my ticket was gifted played no part in the content of my review or the star rating given.

CAST:

Moses Azadeh as Tony Martin; James Crouch as Matt Turner; Shannon Rewcroft as PC Palmer (voice)

CREATIVES:

Writer - Mark Harrington; Director - Jordan Langford; Associate Director - Kira Gaudynski; Production Designer - Justin Williams; Lighting Designer - James Dean; Sound Designer - Ernest Acuqah; Producer - Matty Hurst

RUNNING TIME (approx):

1 hour 15 minutes, with no interval

CONTENT WARNINGS:

Strong language; Depictions of emotional and physical abuse; References to sexual coercion; Teenage pregnancy; Suicidal ideation; Self harm

AGE GUIDELINE:

14+

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