Play 1 - The Boy

Play 2 - The God and his Daughter

Lavishly produced with a cast of 16, the majestic scale of the staging by director Caitríona McLaughlin and set designer Cordelia Chisholm does justice to Carr’s ambition. Shimmering silver curtains reveal a raised stone slab and a suspended ceiling, demarcating the palace of Thebes and the gods’ realm, with mirrored projections creating a dual perspective. Rippling lighting (Jane Cox) and video design (Dick Straker), ethereal vocals and thrumming depth-charges of music and sound (Carl Kennedy) add ominous tones.
**** The Guardian - Helen Meany

Featuring fine direction by Caitríona McLaughlin who crafts an utterly gorgeous spectacle of operatic opulence…Tonnes of impressive visuals and sounds courtesy of Catherine Fay’s shoeless costumes, Jane Cox’s masterful lighting, Carl Kennedy's evocative composition and sound design and Dick Straker's multilayered video design. Cordelia Chisholm's extraordinary set scrubbing The Boy up nicely. Swishing curtains, shifting walls, descending screens and roof projections evoke a myriad of cultural references. Endless explosions of light and sound crafted into beautiful stage images by McLaughlin always magnificent to behold.
Theartsreview - Chris O’Rourke

There’s no doubt that The Boy dazzles. Elaborately produced, the staging matches Carr’s ambition, delivering something both wildly epic and sensually charged. Shimmering silver curtains glide across the stage repeatedly, revealing Cordelia Chisholm’s monumental and classical design, a raised stone slab standing solidly below a suspended ceiling, orchestrating the boundaries between both Thebes’ palace and the gods’ elevated otherworldly realm. Hanging bodies, mirrored projections, and Jane Cox’s sharp lighting create a haunting duality, heightened by Dick Straker’s projected video design and the ethereal vocals supplied by Carl Kennedy’s thrumming soundscape pulse that slices through the air with tense, historical resonance. The production’s scale alone feels worthy of Mount Olympus and the Abbey Theatre.
frontmezzjunkies - Ross

The Boy has very impressive production values, including the fine set by Cordelia Chisholm, the lighting design by Jane Cox, and the composition and sound design by Carl Kennedy. Catherine Fay’s lavish costumes are a successful mixture of period, fantasy and some lunar glamour. The stage management and visuals flow seamlessly, and it is clear that all elements from production, writing, casting and performance are in harmony.
No More Workhorse - Brian Merriman