Based on the best-selling children’s novel by Onjali Q Raúf, The Boy At The Back of the Class is a classy children’s adaptation which is long called for in an age of misunderstanding surrounding refugees. The piece transcends the boundaries of ‘family theatre’ — It exists in a far more universal space as children’s theatre should do. The production draws attention to not the ‘boy’ at the back of the class but the numerous isolated refugees, both young and old.
What this production does so well is a slickness, which leaves it existing outside of any preconceived notions of a ‘children’s show.’ Transitions are invisible, as the actors transform their own space for action, manipulating the set so well. Credit is due not only due to the sublime set design but also the commanding of the stage by Sasha Desouza-Willlock playing Alexa, the narrator. Never does her narratorial role become overly clunky or fixed; she dissolves between action and her role with ease. The ambitious design is utilised inventively by the schoolchildren who piece together Ahmet’’s story (a refugee who arrives in the UK from Syria, not speaking a word of English). The cast — especially Serkan Avlik, who plays Ahmet — work to jump around the set. Nothing feels throwaway or unknowingly placed.
The vibrancy which the collective of actors exhibit is infectious, as they spring around the set which mimics a school apparatus. The actors do well to maintain their ferocious portrayals of characters of such a spritely age. The actors become young and naïve — allowing the younger theatregoers to identify with these characters.
At points, movements feel a little stock — as does the dialogue to accompany it, with key points of understanding obviously pinned onto the side of the text. However, the simplicity provides the most heartfelt reminder of the situation. Helpful for addressing the sea of misinformation about immigration, we see a wide-ranging narrative of opinions for and against the topic. Nothing is left out, except from perhaps a little more insight into Ahmet’s background which I left the auditorium intrigued by.
The comedy is apt — apart from maybe the odd six-seven joke — and caters for all ages, adding to the awareness of the script, adapted by Nick Ahad. Adult jokes leave not a moment lacking a humorous twist, with these comedic moments not compromising the beautifully raw storytelling. However, when control comes from teachers and authority beckons the only tonic for such authority is revolution. This is what is portrayed in this mesmeric dialogue, as the children take matters into their own hands and spur change.
Apt and refreshing, The Boy at The Back of The Class is the ideal production not just for children but essential for us all to re-evaluate immigration narratives.
Photo by Manuel Harlan, courtesy of Capital Theatres.