Let’s start with the fact that I’ve always found Alan Bennett’s History Boys problematic, particularly in light of the #MeToo and ‘Everyone’s invited’ movements. The character of Hector, as affable and charming as he is, abuses his position for his own gratification and this, in my own humble opinion, cannot be ignored.
That said, this is a wonderful production of a (contentious) play. A short, two-month tour follows a run at Theatre Royal Bath (the producers of this particular revival) that marks 20 years since the première of the hugely successful original production in the Lyttelton at The National Theatre.
Despite my aforementioned misgivings, I couldn’t help but to be caught up in the '80s nostalgia of this production. The energy and pace of Seán Linnen’s direction enables a very wordy script to be carried along with a vitality that almost reflects the young hopefuls on stage. The transitions, often accompanied by a cappella versions of '80s pop songs (perhaps as a nod to Bennett’s current project, Choral?) allow the action to flow seamlessly between the various scenes.
This is in no small part down to Grace Smart’s excellent adaptable set design, a revolve of the outside and inside of the classroom, almost creating two worlds, the inner sanctuary and workings of academia with the outside forces of school league tables, illicit affairs and meetings with the Headmaster threatening to end the fun. When these two spheres collide, there are often hilarious consequences, not least the French brothel scene that works delightfully on this occasion.
Alongside Smart’s set and costume design to help to suggest the Sheffield Comp in the '80s, the sound and music is also impressive, and Russell Ditchfield’s arrangements add another dimension to this production. There is a particularly brilliant performance of Adam and the Ants’ "Stand and Deliver" with a percussive use of school desks and textbooks to accompany. Ditchfied, along with musical director Eamon O’Dwyer, has used the music to transport the audience straight back to that '80s time period, and it just works so effectively, whether it’s Tears for Fears, Duran Duran or OMD being blasted out.
The use of singing is faultless, and Lewis Cornay’s Posner often holds the audience in the palm of his hand as he beautifully serenades the company, particularly his gorgeous rendition of Lorenz Hart’s "Bewitched, Bothered and Bewildered". There is a vulnerability to Cornay’s portrayal of Posner which often pulls on the heartstrings. His elfish and wide-eyed desperation to be noticed by his crush, Dakin, and then his two mentors is often painfully captured. The scene between Posner and Hector discussing Hardy’s poem Drummer Hodge is perfectly paced and subtle and encapsulates Bennett’s wonderful way with words.
So, having started rather negatively, I can only end contrastingly with positive overtones. This really is a super revival, and the Cambridge audience (rather fittingly, given the Oxbridge theme of the show) appeared to share my appreciation, rising to their feet to applaud in unison at the curtain call.