Monster (KXT) ★★★½

Written by Duncan Macmillan. Tiny Dog Productions in association with Bakehouse Theatre Co. KXT on Broadway. 6-12 Mar 2026.

What turns boys into dangerous young men? What makes a monster? Playwright Duncan Macmillan doesn’t provide answers so much as prod you to draw your own conclusions in this dark, spacious early work — receiving its Sydney debut at KXT on Broadway. If you were fascinated by the Netflix series Adolescence, this makes for a compelling companion piece.

Darryl (Campbell Parsons) is a disruptive 14-year-old, removed from his regular classes to be tutored by Tom (Tony J Black), an inexperienced teacher. Tom is disturbed by Darryl’s obsession with violence and his lack of empathy. Meanwhile, at home, his fiancée Jodi (Romney Hamilton) is pregnant with their first child. As Tom grows more involved in Darryl’s life — desperate to find a way to help him — his own world begins slipping into dangerous territory.

Campbell Parsons, who was impressive in Babyteeth last year, is utterly magnetic here as Darryl. In Parsons’ hands, Darryl feels genuinely unpredictable and charged with unnerving energy. There is an almost overwhelming drive to him that steamrolls over people, situations and social graces. Truth, lies and youthful storytelling become indistinguishable in the things he says. Without any institutional power of his own, he nonetheless exerts control over those around him. Even offstage, his presence is felt.

A further performance highlight is Linda Nicholls-Gidley as Darryl’s grandmother Rita. His only family, Rita is both fierce defender and fearful subject, and Nicholls-Gidley balances that embattled protectiveness with a weary defensiveness beautifully. It fantastic to have her on stage again, rather than just in the rehearsal room coaching dialects (which are all excellent in this show by-the-way).

Romney Hamilton gets to run the emotional gamut as Tom’s fiancée Jodi. Her performance hints at past pain — and for all the emotional fireworks, there is real nuance beneath. A joy to watch.

Tony J Black, a last-minute casting in the demanding lead role of Tom, faces a steeper climb than most and puts in solid work given the limited preparation time (he was technically on-book for opening night, but only relied on it in small moments). His performance — and the show as a whole — will no doubt deepen once he has fully found his stride.

Director Kim Hardwick presents this with as little embellishment as possible. A sleek, sparse set by Victor Kalka provides a moody backdrop — essentially a table and two chairs. Charlotte Leamon’s sound design is deployed only in key moments, leaving the soundscape bare for long stretches. By not deploying the usual bag of directorial tricks to give emotional guidance, Hardwick puts the emphasis on the text and the performances to do the heavy lifting — and thankfully, this cast is more than equal to that task.

Macmillan’s script flirts with danger, and his grasp of Darryl’s unrelenting nature is thrilling. Darryl is an emotional terrorist, refusing to negotiate with those around him, turning every conversation into an unbending interrogation and every interaction into a potentially violent one. He is a brilliant character who makes the play what it is.

Monster is a heavy affair, and this production’s contemplative pacing and monastic staging leave little room to escape. Macmillan’s writing is sharp and unsettling, circling its themes with precision — a reminder of why this early work has earned its place on stage. Its triumph lies in the casting — an ensemble who bring real vibrancy to that open, demanding space.