The History Boys – Theatre Royal Plymouth

Writer: Alan Bennett

Director: Sean Linnen

From the moment it starts, Alan Bennett’s The History Boys leaves the audience at Theatre Royal Plymouth in no doubt that they are in for an evening of excellent entertainment. Leading with strong acapella vocals and dynamic set movement, this touring production from Theatre Royal Bath Productions begins with pace, energy, and no small amount of talent.

Setting out its stall as being firmly based in the 1980s through a superb soundtrack and costume design, The History Boys delivers a humorous yet powerfully realistic performance of the lives of teenage boys on the cusp of university, as well as the very fallible natures of the teachers who are trying to get them there. It’s a coming-of-age story and then some, with the harsh realities of life and horrific betrayal of abuse by a person in power sharing stage time with sex, friendship, identity, and sexuality.

The performances are strong across the board with every actor on stage delivering an engaging, believable character that is compelling to watch. Particular note goes to Lewis Cornay, whose poignant and heartfelt portrayal of the youthful pupil Posner also delivers some exceptional solo vocal numbers that ride the full gamut of styles and emotions. Another stand-out performance is Yazdan Qafouri’s Scripps, another of the pupils who plays live piano at multiple points during the production while acting or singing at the same time. Qafouri never breaks character and maintains Scripps’ physicality and personality without flaw. The vocal performances of all of the pupils is strong throughout, and the songs are a genuine highlight of the production.

What appears to be a simple, possibly basic set before the house lights go down is revealed to be a dynamic and adaptable part of the performance, with set changes taking place at pace to upbeat 80s numbers (many being performed live on stage by the cast). Set and Costume Designer Grace Smart has produced an engaging set that compliments Ryan Day’s lighting design perfectly. The only moments of true darkness take occur at the interval and end of the production – everything else is in view and performed at all times. Set and scene changes are just as much a part of the production as the scenes themselves, maintaining the production’s energy and tempo and keeping the audience fully immersed.

The only thing that detracts from this pace is when a small number of lines are stumbled over. While they are never lost or dropped, and the recovery is always swift and complete, these mistakes do break the illusion and create a slight sense of unease at times.

There are also some staging decisions that result performances being delivered upstage, with actors backs to the audience and their voices being slightly lost to those at the back of the auditorium. Again, while these moments are brief and are possibly deliberate decisions made to focus attention on the upstage performances, they do take the edge off what is an otherwise stellar production.

None of these minor issues take away from the fact that this is a very good production of a justifiably famous and well-loved play. Fans of Bennett will not be disappointed, and those who are completely new to the play or Bennett’s work will be equally entertained.

Runs until 21st September 2024.