In Bad Ladz, the new dark comedy from Niall Ransome, which is now playing at the New Wimbledon Theatre Studio, we learn that what makes young men ‘bad’ can actually be a sense of trying to do good.
Mickey has recently lost his mum, her ashes sitting pride of place in his Nan’s sitting room. With the house empty, Mickey is surprised to find that his best friend, Darren, has kidnapped the local drug-dealers brother over an unpaid debt.
Darren’s friend Tony is also on hand to help, and having already taken such drastic action, these woefully ill-prepared kidnappers take the decision that they need to see this whole situation through to the end, with hilarious consequences.
Ransome’s script does much to highlight the perception of toxic masculinity, these ‘bad ladz’, or ‘naughty boys’ as Tony insists on calling them, are not ‘bad’ at all. They are the product of the environment they have been raised in; the broken down estate where they have grown up offers them nothing, and Mickey is clear that all he wants to do is get out.
But what they have been given by their environment is a sense of fierce loyalty to their friends, even Parashar, the Asda worker abducted mid-shift, turns out to be one of the friendship circle and the actions that are being taken are not needed, but perceived as being expected.
It’s beautifully moving in places, all of the characters have their faults, but all of the other characters recognise them, and on the whole attempt to support and encourage them. Mickey is offered love for the loss of his mum, Darren’s impetuous and stupid behaviour is more than merely tolerated, and Tony’s inexplicable problem with flatulence serves as an almost bonding experience.
This is however, a comedy and Bad Ladz does offer some real hilarity; Carl Stone is particularly funny as Tony, as an incident with a mobile phone demonstrates. There are moments when it veers to such levels of ridiculousness that it starts to lose some of its comedic edge, and there could have been a better balance of all the elements.
Freddy Elletson is particularly impressive as Mickey, bringing a touch of innocence to this character that has clearly offered so much support to his peers, while needing much support himself. Elletson ensures that Mickey views the unfolding events in the same way as the audience, with a mix of shock and disbelief, while placing the character firmly in the spotlight where needed.
As Parashar, Nicholas Prasad shines as the most grounded of the characters and gives a superb performance in the process. Rosa Crompton’s well-paced direction keeps the energy up, and the inclusion of eighties music (and dance) is a nice touch that brings an extra dimension.
Bad Ladz is undeniably funny and surprisingly moving; the message it sends about these misunderstood young men is refreshing in its approach and with a few tweaks to make certain elements less outlandish, it could have a very successful future life.
