The Boy at the Back of the Class – Grand Theatre, Wolverhampton

Writer: Onjali Q. Raúf

Adaptor: Nick Ahad

Director: Monique Touko

The Boy at the Back of the Class is an award-winning novel which highlights the difficulties that refugees have faced in trying to escape their homes and find peace and settlement elsewhere. While primarily intended to be enjoyed by children, this stage adaptation by Nick Ahad helps to raise awareness of such important issues that everyone, young and old, can play a part in trying to fix. The refugee crisis has been covered in news bulletins frequently, but bringing this story to life on stage allows the audience to connect with the stark reality of what is happening. As director Monique Touko explains herself, “this is my opportunity to create the show I wish I saw as a child”

There is an empty chair at the back of the class, but not for much longer. As all eyes turn to the door in synchronised fashion, Ahmet (Farshid Rokey) hesitates as he is welcomed in to his new school community. Rokey portrays all of the emotions of Ahmet well as we can appreciate the overwhelming state of fear and anxiety he is trying to overcome as he meets his class. Initially silent, Ahmet has difficulty connecting with others due to the language barrier.

The rest of the class is made up of lively personalities typical of primary schools but perhaps exaggerated to bring more energy to the story. Josie (Petra Joan-Athene) and Michael (Abdul Malik Janneh) bring humour as they fight to be the number one pupil, while the boisterous Brendan (Joe McNamara) is the stereotypical bully. The story highlights how adults themselves can be the biggest bullies of all, and shows the impact of how hurtful words can leave a negative lasting impression on young people. This is certainly the case with Brendan’s father.

Most of the class is overly curious in trying to unpick what has happened to Ahmet and to support him in settling into his new home. Alexa (Sasha Desouza-Willock) takes on the role of lead student in her investigation and narrates what is happening through well-timed monologues. These help the audience to connect with the instincts and feelings of the young children as they try to understand the complex nature of the problems in the world.

Despite all of the serious themes of the play, it is still aimed at children aged seven and above. With this in mind, the action needs to move quickly with energy, pace and momentum. For the most part, it achieves this. Imagination is used with the set design by Lily Arnold, with the recognisable primary school gymnasium used for different purposes in scenes to keep the action moving along. There are also some creative moments including the use of light for the invisible football matches and choreographed sequences. The opening of the play shows Ahmet’s journey as he is forced to brave the elements to escape across the ocean with the use of atmospheric lights, music and the blue sheet to reflect this.

Such clever theatrical moments could be used more consistently as it can feel at times that the action is being recounted to you instead of being experienced first-hand. Perhaps there is a balance to be found here as Ahad and Touko wrestle with the need for a potentially young audience to truly understand the complexities of the refugee crisis, while still staging impactful, entertaining theatre.

OverallThe Boy at the Back of the Class has been adapted well and its presence on stage will leave a lasting impact on children and adults who will no doubt go home reflecting on how ourselves and the powers that be treat refugees in crisis. Despite the need to capitalise on more creative, theatrical moments, it is still two hours packed with enough energy to keep you engaged.

Runs until 20 April 2024 and on tour