Performance Run: Monday 23 - Saturday 28 February 2015

Performance Reviewed: Monday 23 February (Press Night)

Nestled safely within it’s welcoming, somewhat idealised world, The History Boys is a show of didactic opposites. Fact versus presentation, actuality against possibility and conformity opposed with personal enrichment. As two starkly differing teachers set out to prepare their all-male class of final years for adulthood and life to come, mercifully neither one succumbs to cliche or type with their perspective and outlook, creating a rich, intelligent slice of classic Alan Bennett theatre which continually prods, questions and challenges to an extent few shows of this ilk manage.

Hector (Richard Hope) is a somewhat disenfranchised maverick of an English teacher who holds as much disdain for curriculum guidelines on what he should teach as he does impending university applications. He is an explorer of earnestness, sentiment and heart, and, in his eyes, does this all without pretence - somewhat humorously chastising the idea of his pupils becoming the kind of atypical waffling prats who ‘talk in middle age of the lure of language and their love of words. Words said in that reverential way that is somewhat Welsh.’ His lessons throw caution, and the syllabus, to the wind - piano recitals, French roleplaying. It’s a welcome world of whimsy, expression and liberty behind a locked door and drawn curtains that his pupils will forgive the one-on-one motorbike trips home for. 

Into this freewheeling world comes the focus and insight of young supply teacher Irwin (Mark Field), primed and directed by the school’s lecherous headmaster (Christopher Ettridge) to aim for Oxbridge. Where a less shrewd and resonant piece would establish a conventional clash of artistry versus academia, Bennett’s direction is far more sophisticated and engaging. Irwin is a champion of questioning the norm, spinning truth, perspectives and indeed history on its head, and forcing his pupils to not only think outside the box but question if said box is even a box in the first place. It sits at odds with Hector the ‘feeler’ (quite literally), but thankfully refuses to establish any overt right or wrong. Hector’s lessons are expressive, natural and creative, Irwin’s are rigorous and demanding yet yield results. Both are exploratory in different ways, each impart valuable life lessons.

It is on the canvas of the pupils themselves that we gauge the impact of these two influences, and they are a fascinating, rounded troupe. As per the play as a whole, this is a slightly heightened collective - multi-ethnic, devoid of inner conflict and unanimously accepting of the group’s flamboyant gay character Posner (Steven Roberts) even when the open subject of his affections.  Yet, ironically, it is in this somewhat exaggerated microcosm that we find far greater truth and impact - robbed of traditional, perfunctory drama and narrative 101 muddying the waters, the characters can breathe, develop and adapt. There is an almost oxymoronic simplicity yet complexity to each of them, with issues such as sexuality and even religion being brought up not to be questioned, defined or explained, but simply explored. These characters are the perfect symbiosis of both Hector’s fast and loose, from the heart humanity, and Irwin’s adamancy to look from a fresh perspective.

In the hands of Alan Bennett’s organic, thought-provoking and consistently intelligent writing, the cast have terrific material to work with and the assembled company for this latest touring production do not disappoint. Richard Hope is quite terrific as Hector, bursting with charisma and conviction and charting the more morally dubious elements of the role with sincerity. Mark Field plays it straighter, understandably, and is similarly convincing as an entirely different creed of younger, more conditioned teacher who is far more fettered and repressed by who he is and the world he enters. As young Dakin (Kedar Williams-Stirling) shrewdly points out, this is a man who continually champions the virtue of going against the grain and challenging the norm in everything but his own life and way of living. Hope and Field play off of one another brilliantly - contrasting whilst complimenting and, as mentioned, never in a simplified or overly adversarial manner. 

Susan Twist is delightfully acerbic and witty as the boys original teacher Mrs Lintott, regularly casting perspective and observation on proceedings, whilst Christopher Ettridge is a delightful caricature as the animated ‘tw*t’ (according to Lintott) of a headmaster. The boys similarly impress - particularly Kedar Williams-Stirling as charismatic, silver-tongued Dakin, Alex Hope as narrator-of-sorts and devout Christian Scripps, Joshua Mayes-Cooper as resident cheeky chappy and smart Alec Timms and David Young as the less aspirational ‘its just one f**king thing after another’ Rudge. The standout, however, is undoubtedly Steven Roberts, who effortlessly dissolves in the role of Posner, going beyond stereotype to craft a nuanced, scene-stealing yet empathetic take on one of the shows most interesting and ultimately impacting characters.

The History Boys remains a triumph, and it is gratifying to see arguably Bennett’s finest work remaining such a commercial success and viable revival. The new cast inject the show with a hearty dose of conviction and sincerity, whilst Kate Saxon’s canny direction can particularly be felt in the shape and cadence of key moments and the central performances - moments which could easily be lost from the page (see the 2006 film adaptation for some example) are here emphatic, lingered, meaningful. It is still certainly accessible enough to remain mainstream, yet those looking for traditional, more straight-laced and simplistic theatre may find it’s 2 and a half hour running time  a little taxing. 

For those who don’t deign to leave their brains (and hearts) at home, The History Boys remains as interesting, unique and thought-provoking a piece of quintessential Alan Bennett as ever, and it is not difficult to see why it recently topped English Touring Theatre’s poll to find the ‘Nation’s Favourite Play’. This revival production ticks all the prerequisite boxes, and that it lives up to its prestige and history of it’s own should be more than enough to convince audiences to return. Whilst Irwin, and the show as a whole, insists we re-assess what is known, dip back into history and question what we assume to be true, so to do we find ourself re-visiting The History Boys in this new revival production. And yet, contrary to having to skew a new perspective or re-shape our findings, we find here a revival which only serves to cement what was already known - that this is a brilliant piece of modern theatre and a very easy recommendation indeed.

 

RATING - ★★★★

 

THE HISTORY BOYS is running at the NEW ALEXANDRA THEATRE, Birmingham, from Monday 2 to Saturday 7 February 2015.

CLICK HERE for more information on the show's run at the New Alexandra Theatre and to book your own tickets!

Alternatively, telephone the theatre's booking line direct on 0844 871 3011.

 

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Press tickets for this performance of The History Boys were provided courtesy of the New Alexandra Theatre directly. The author gratefully acknowledges their generous invitation.

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Readers who submit articles must agree to our terms of use. The content is the sole responsibility of the contributor and is unmoderated. But we will react if anything that breaks the rules comes to our attention. If you wish to complain about this article, contact us here