Inis Nua’s ‘Square Go’: A master class of acting from inside the little boy’s room

Puberty and the chuckling, head-shaking moments it inspires take center stage in Square Go, making its Philly premiere after earlier stagings in New York and Scotland’s venerable Edinburgh Festival.

The theme is universal and so is the comedy, in this coming-of-age tale by Inis Nua and Tiny Dynamite.

Co-authored by Scottish playwrights Kieran Hurley and Gary McNair, the play negotiates a tricky path from outright hilarity to an emotional conclusion. The evening doesn’t stray far from the one-note theme of coming-of-age, and the deeply moving climax seems slightly out of step with the lighthearted mood of the play. Nevertheless, we are entertained and the overall quality of production makes for a fascinating evening.

Kathryn MacMillan’s crisp, kinetic direction infuses every element of the show. The comic pace, personal connection, and subtle moments of audience participation make for a delightful theatrical experience. We lock into the energy and immediacy of the arena staging, including several combat sequences. The wrestling clashes, brilliantly choreographed by Alex Cordaro, are entirely authentic and riveting.

There are two characters, Stevie and Max — both early teens — played by adult actors. The action occurs in a boys’ school bathroom, just outside Glasgow, one hour prior to a street fight (the square go) to which Max has been challenged.

Their relationship is well-crafted and typical of male teenage bonding. They possess a modicum of insight, gleaned from street smarts and bits of learning from their often-absent “Das.”

Their self-assurance, however, is shaky at best, bouncing from feigned certainty, confident stupidity, and fragile insecurity, especially when calculating what is expected of them in the world that lies ahead. These are spot-on illustrations of pre-adulthood.

Owen Corey plays Max, whose impending match with the school bully anchors the plot. Tyler Elliott portrays his bestie Stevie. At times Stevie’s support proves awkward, even defeating, as when he taunts, “The heaviest thing you ever lifted was the burden of being a massive disappointment” to which Max replies, “Whose side are you on?”

Elliott also portrays Hobbins, the eccentric but affable teacher, the bully Danny, and Max’s father.

Both actors render extraordinary performances. In a show driven by humor, they elicit laughter by remaining rooted in organic heartfelt connection — no mugging or overplaying. Each exudes a remarkable teen sensibility and letter-perfect Scottish dialects. They also demonstrate exceptional physicality. Add occasional improvisational moments, where they interact with the audience, and we’re witnessing a master class for actors employing a comprehensive skill set.

Corey’s committed search for self, despite his adolescent doubt, suggests an endearing inner courage. Elliott’s impressive character turns include a moment as the bully, transitioning from absolute stillness to deep emotion.

The boys’ need for conversation and connection is unmistakably topical. So are the play’s references to antiquated notions of masculinity.

And what about bullying? Are we shaking heads and chuckling as the nation’s leaders redefine maturity as crudely as possible?

Go check out Square Go. Enjoy the show and judge the relevance for yourself.

(Community/Arts)

A coming-of-age tale told through stellar acting, perfect Scottish accents, and brilliantly choreographed wrestling. A play that’ll make you chuckle and shake your heads, and reflect on the political relevance of a play that questions antiquated notions of masculinity.

⌚️ Through June 22, 📍 302 S. Hicks St., Phila., 🌐 inisnuatheatre.org

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