The UK touring production of The History Boys by Alan Bennett brings a fresh yet faithful interpretation of this iconic play. Set against the backdrop of 1980s Sheffield on A-Level results day, the play explores themes of education, ambition, and the complexity of adolescence. This production features standout performances and excellent comedic timing.
Lewis Cornay’s portrayal of Posner is nothing short of excellent. His nuanced performance brings vulnerability and depth to the character, allowing the audience to connect emotionally with Posner’s internal struggles. Cornay finds the perfect balance between humour and melancholy, making Posner one of the most memorable figures in the play. His singing is charming and masterful.
Simon Rouse delivers a captivating and believable portrayal of Hector, the eccentric English teacher. Rouse brings a gravitas to the role that both honours the late Richard Griffiths’ iconic performance and adds his own unique touch. Hector’s ideals about education, culture, and life are delivered with such conviction that his character’s moral complexities feel raw and authentic. The dynamic between Rouse’s Hector and Bill Milner’s Irwin is particularly engaging, highlighting the ideological clash between old-school values and modern educational pragmatism.
Archie Christoph-Allen’s portrayal of Dakin offers a charismatic, confident character who navigates the intellectual and emotional tensions of the play with ease. His performance stands out for its balance of charm and introspection, making Dakin’s relationships with the other boys feel believable and layered.
One of the production’s strongest elements is its use of humour and staging. Director Seán Linnen has a clear grasp of Bennett’s witty, often sharp dialogue, using it to great effect. The classroom banter, Hector’s eccentric lessons, and the boys’ mischief are all brilliantly paced, keeping the energy alive even during a play that narrowly misses the three-hour mark. While the overall pace is steady, the cast maintains enough energy to sustain audience engagement throughout, though there are moments that feel stretched due to the play’s length.
Bennett’s script offers much more than comedy, though. The exploration of education’s purpose, the shifting nature of historical interpretation, and the existential musings of youth are all handled with care. The script’s calculated precision allows for much debate and introspection, drawing attention to how education is framed, taught, and received. The production captures this with a subtlety that ensures the philosophical undertones resonate without overshadowing the humour.
However, the set design by Grace Smart, while effective in capturing the simplicity of the 1980s classroom environment, feels somewhat underwhelming. As the transitions between scenes become repetitive, the static nature of the set begins to wear thin. The overuse of the same staging elements in different contexts lacks the dynamism the script’s various tonal shifts require. The design could have benefitted from more creative transitions or visual variety, especially in a production of this length and thematic richness.
Additionally, while the acapella singing adds a nostalgic and occasionally poignant layer to the production, it is used perhaps too liberally. There are moments where it feels like the singing is inserted for its own sake, which can detract from the momentum of the storytelling.
Overall, The History Boys is an enjoyable and thought-provoking production, driven by stellar performances and Bennett’s sharp, reflective writing. While the set design and some musical choices may fall short of expectations, the cast’s ability to maintain humour, emotion, and energy throughout a lengthy production makes it a must-see for both fans of the play and newcomers alike.
The History Boys plays at Nottingham Theatre Royal until Saturday 14th September where it continues its UK tour.
Leave a Reply