Review: BROS, Kings Head Theatre

In a world grappling with a men’s mental health crisis, BROS arrives at the perfect moment. It’s a show that doesn’t just entertain—it dissects, challenges, and holds space for reflection. As someone who knows and deeply cares about the emotional lives of men, I left the theatre hungry for everyone to experience this powerhouse performance.

BROS places modern masculinity under a sharply comedic microscope. Written and performed by Iona Champain and Matilda McCarthy, the two take on the roles of best mates navigating the ghost of their shared past during a house party that never really starts. Desperate to reconnect and rekindle the “good times”, their dialogue dances between the ridiculous “Who brings overnight oats to a house party?” to the devastatingly real: “Do you want to talk?”.

What makes BROS exceptional is its ability to pivot effortlessly between laugh-out-loud humour and moments of quiet, gut-wrenching grief. The chemistry between Champain and McCarthy is electric; their timing is razor-sharp and the hour-long runtime disappears in what feels like minutes. The performance never loses its pace, with each joke, beat, and silence landing exactly where it needs to.

Though it’s a two-hander, the show feels full-bodied thanks to its thoughtful design. Crea Sullivan’s sound design is a triumph, transporting us through the night with a perfectly curated score that echoes the emotional landscape of the characters. From building tension to capturing the fragility of unspoken pain, every sound serves a purpose. Lighting shifts, though minimal, are deftly used and subtle yet intelligent choices which enhance the emotional beats without ever pulling focus.

Every creative element, the set, sound, and lighting, work in unison to support the story. Nothing feels out of place; there is clarity and cohesion in the vision. This allows the audience to fully engage with themes of male mental health, the fear of vulnerability, and the weight of growing up and growing apart.

Casting two women as the male leads is a masterstroke. Not only does this bring a layer of humour through physicality and exaggerated bravado, but it also creates critical distance: it invites the audience to reflect more deeply on masculine behaviours and the ways we perform gender. The cross-gender casting feels intentional, nuanced, and never gimmicky.

The script is fearless. It’s hilariously naturalistic, with sharp, familiar lines like “according to her” and “it was funny at the time” exposing the cracks in male friendship and the hidden cost of ‘just messing around’. These men aren’t villains; they’re products of a culture that has silenced their emotional voices for years. But BROS refuses to let that be the end of the conversation. Instead, it asks: What did those good times really cost? And how long can you run from grief before it catches up with you? BROS is a vital, clever, and deeply affecting piece of theatre. It deserves to be seen, not just for its incredible performance and writing, but for the conversation it ignites.

Writers & Directors: Iona Champain and Matilda McCarthy
Assistant Director: Catherine Cranfield
Sound Design: Crea Sullivan

BROS has completed its run as part of the King’s Head Late Show Series