The Boy at the Back of the Class and the Reviewer in Tears.
A new boy sits at the back of a Year 5 class, not knowing anyone or even the language, and his journey is far from over. The Boy at the Back of the Class tells the story of Ahmet, a Syrian boy who begins his education at a British primary school after making the dangerous journey to seek asylum. The narrative is told through the eyes of the children who befriend him, helping Ahmet to find more than just his voice. A heartwarming story of friendship and resilience, The Boy at the Back of the Class is sure to move even bullies to tears.
Nick Ahad has adapted the story to stage beautifully. The children talk like children, and the production design is filled with imagination and playfulness. Serious themes are portrayed sensitively but impactfully, and though young characters may not always say the right thing, they are trusted with heavy topics. Onjali Q. Raúf’s writing and Ahad’s subsequent adaptation encourage the audience to stay curious and open their hearts and minds.
Monique Touko has directed the piece beautifully, putting careful thought into
characterisation and blocking. The piece exudes energy, and you can tell the performers are having an incredible time, which is a testament to the environment created in the rehearsal room. Sometimes nods to the audience feel a bit forced, but do provide important emphasis to key lines. The movement and fights are coordinated brilliantly by Kloé Dean and Maisie Carter, with clear regard for safety and an eye for using the whole space whilst having a child’s mentality at heart.
All actors have an impeccable grasp of characterisation. Sasha Desouza-Willock and Serkan Avlik give particularly moving performances as Alexa and Ahmet, delicately and intelligently playing the characters with close attention paid to portraying trauma sensitively. Another stand-out is Evie Weldon, who, when multiroling entirely embodies each character, from snobbish schoolgirl to sinister old teacher. Natasha Lewis also shines as Mrs Khan/Mum, with a formidable presence and subtle improvisation, which keeps the momentum whenever younger audience members become restless.
The lighting (Ryan Day) and sound (Giles Thomas) work in synergy with the sets and
costumes (Lily Arnold) to propel the story, immersing us in situations from child’s play to imminent danger. The football segment is especially effective, with mimed balls bouncing and lighting up the set, which becomes the performers’ playground. Every inch of space is used, whether by actors climbing the PE equipment walls or by LEDs illuminating the borders. Ahmet occasionally steps outside of the established performance area to speak to us directly, as though we’re in his head, which is beautifully done.
My one criticism is that there is a very cheesy moment of resolution in the second act
involving the Queen, which I feel cheapens the achievements of the children themselves, as their big plan to help Ahmet causes enough change as it is. Whilst this has a negligible effect on the final emotional payoff of the show, it stunts the plot’s progression slightly after a tightly executed unfurling of events.
Overall, the piece is sensitive, educational and big-hearted. Multiple elements work together beautifully to deliver a lasting message. A tale of hope and the enduring power of raising your voice in an ever scarier political climate, The Boy at the Back of the Class is a must-see for children and adults alike.
The Boy at the Back of the Class runs until 18 April at the Lowry, Salford, before continuing a tour. Tickets here.