Poignant. Needed. Physical. Breath-taking. No Man’s Land enters the theatrical landscape at a time when approximately 40% of men will not open up about their mental health. A time when men account for 3 out of 4 suicides. When 30% of men admit that they have no idea where to turn to for help or support if they begin to suffer with anxiety and depression.

Based on Kyle Stead’s own lived experience, the new play from Rachel Trezise with direction from Matthew Holmquist (and co-direction from Kira Bissex), is one of the most visceral, realistic and gritty displays of mental deterioration I have ever witnessed on stage. The physicality of the performance and the sheer energy and desperation that Kyle pours and crafts into his performance are nothing short of breathtaking. The script is punchy, distinctly Welsh, cleverly drip feeding us information whilst holding back the final gut punch until the very last moments. We are mesmerised trying to work out what has happened to the protagonist, Lewis, guessing parts and knowing in the pit of our stomachs what is coming, but not fully knowing until the dying embers of the performance.

The performance of Lewis’ descent into the No Man’s Land of his mind has Kyle pounding across the stage of wood chippings, diving, throwing himself without warning between the barbed wire of one end of the stage and the bar of the rugby club at the other end. The sheer physicality of the performance here is beyond belief. Kyle truly captures the descent into mental disarray and despair. This is peppered throughout by brilliantly naturalistic voice acting with the whole of Lewis’ circle of acquaintances presented in an audio way. The delivery of lines here is exceptional, they could be in the room with us. The way the lines interweave with Kyle’s own delivery as Lewis emphasises that Lewis is truly alone and living through memories of his own trauma. The cast of voice artists include Tori Lyons as Llinos, Lewis’ mam, Richard Elfyn as Ronnie, Rhys Parry Jones as Mervyn, Tobias Weatherburn as Josh and the teacher, Toby Hawkins in a beautifully poignant rendition of Younger Lewis, just before the traumatic incident and Phillip John Jones as Callum.

This production is delivered exceptionally from set design to sound to lighting. The whole design of the piece melds so seamlessly together to create an urgent, needed piece of theatre that everyone, especially men, need to see. I also really love how this is an accumulation of so many fantastic organisations coming together to create something that is so important; Kyle Stead Productions, Sherman Cymru, RCT Theatres and support from Platfform, but also having Silence Speaks present after every performance, captioning at every show and BSL interpretation at certain shows, means that this important, topical play becomes accessible to all. For Kyle’s performance alone, the show is exceptional, but the way it comes together from all aspects is what is truly brilliant here.