#1
Posted: 4/15/06 at 1:22am
Playwright Alan Bennett can pick his way astutely through contemporary society all while comparing it to the innocence of youth. He does this quite impeccably in “The History Boys” – now in previews at the Broadhurst theatre on Broadway, where it is soon to open after transferring from London.
“The History Boys,” set in a northern grammar school (our equivalent to an American High School ) involves a group of eight, supposed high-school aged boys, with goals towards Manchester Grammar status. The only problem here, and is one of the only problems with the entire play, is the fact that the boys, who are its original cast members from London, are no longer the age these characters need to be, and at times can pull the audience out of Bennett’s tight script.
The boys are under a master from the old school (Clive Merrison), whom advancing years have made doubtful about any form of conscious learning, and his young successor (Stephen Campbell Moore), who shares his headmaster’s philosophy of targets and educational structures.
The precipitous Richard Griffiths as the older teacher, loveable and respected despite his penchant for touching up those boys selected to ride pillion on his motor bike, is an outstanding performer that goes tooth for tooth with Moore’s young pretender who ends up as a TV host. The struggle for the boys between the two conflicting types of instruction is strategy based on cards containing facts and phrases learned by heart and those calculated more traditional educators who teach only to impress an examiner. And Frances de la Tour is splendid as the acid tongued teacher and confidant.
The play is surprisingly well-made, with interesting little mini-dramas scattered throughout- the boy who realizes he is a homosexual, the one who bangs the headmaster’s secretary and ends up as the richest of the lot and the boy who knows he is thick but gets into the posh college anyway because his father was a college servant.
The problem however is that the play feels entirely too much like a well crafted play, instead of a universal language that theatergoers in today’s age strive for. “The History Boys” is anything but mediocrity, but instead an insightful and sometimes too perfectly groomed play for its own good. While theatre audience will adore “The History Boys” for its tale of society; society and the general public may not be ready for “The History Boys”.
Nonetheless, “The History Boys” is a fascinating microcosm, intensely directed by Nicholas Hytner in Bob Crowley’s utilitarian setting and acted for all it is worth by a marvelous cast. With the likes of “Rabbit Hole” off the boards, it is wonderful to have another successful new Broadway play in the same season. (“Well” can’t very well be counted as successful with those figures) Although this drama maybe even less universally appealing than “Rabbit Hole,” (at least to American audiences) it certainly has the power to match it blow by blow.
“The History Boys,” set in a northern grammar school (our equivalent to an American High School ) involves a group of eight, supposed high-school aged boys, with goals towards Manchester Grammar status. The only problem here, and is one of the only problems with the entire play, is the fact that the boys, who are its original cast members from London, are no longer the age these characters need to be, and at times can pull the audience out of Bennett’s tight script.
The boys are under a master from the old school (Clive Merrison), whom advancing years have made doubtful about any form of conscious learning, and his young successor (Stephen Campbell Moore), who shares his headmaster’s philosophy of targets and educational structures.
The precipitous Richard Griffiths as the older teacher, loveable and respected despite his penchant for touching up those boys selected to ride pillion on his motor bike, is an outstanding performer that goes tooth for tooth with Moore’s young pretender who ends up as a TV host. The struggle for the boys between the two conflicting types of instruction is strategy based on cards containing facts and phrases learned by heart and those calculated more traditional educators who teach only to impress an examiner. And Frances de la Tour is splendid as the acid tongued teacher and confidant.
The play is surprisingly well-made, with interesting little mini-dramas scattered throughout- the boy who realizes he is a homosexual, the one who bangs the headmaster’s secretary and ends up as the richest of the lot and the boy who knows he is thick but gets into the posh college anyway because his father was a college servant.
The problem however is that the play feels entirely too much like a well crafted play, instead of a universal language that theatergoers in today’s age strive for. “The History Boys” is anything but mediocrity, but instead an insightful and sometimes too perfectly groomed play for its own good. While theatre audience will adore “The History Boys” for its tale of society; society and the general public may not be ready for “The History Boys”.
Nonetheless, “The History Boys” is a fascinating microcosm, intensely directed by Nicholas Hytner in Bob Crowley’s utilitarian setting and acted for all it is worth by a marvelous cast. With the likes of “Rabbit Hole” off the boards, it is wonderful to have another successful new Broadway play in the same season. (“Well” can’t very well be counted as successful with those figures) Although this drama maybe even less universally appealing than “Rabbit Hole,” (at least to American audiences) it certainly has the power to match it blow by blow.
Updated On: 4/15/06 at 01:22 AM
