THE HISTORY BOYS
Standing (l to r) Jonathan Shue, James Breedlove, Ryan Foster, Nic KnerrSitting (l to r) Christopher Morrell, Zac Schuman, Juan Carlos De La Rosa.
THE HISTORY BOYS by Alan Bennett , directed by Ed Decker. The
EXPECT LESS AND GET MORE
This Bay Area premiere of Alan Bennett’s “The History Boys” was a coup for Artistic Director Ed Decker and one wondered how he could mount a play that had won multiple awards including the 2005 Olivier Award for Best New Play in London and 2006 Tony Award on Broadway whose elaborate productions used film clips between multiple scene changes to emphasize time and place. Decker and scenic designer have come up with an extremely attractive set, using minimal props (eight chairs and a desk) a sliding wall and adept direction to keep the action flowing without interruption.
Bennett has created a non-linear play with a narrator/observer that starts in the present, flashes back to 1980, and allows individual characters to break the fourth wall with addresses directly to the audience. The narrator, Scripps (Jonathan Shue) is the introspective one of the seven English schoolboys who are preparing to take exams for entrance to prestigious colleges. The have been assigned to a class on General Studies taught by unorthodox Hector, who takes a broader view of his teaching role than the headmaster would like. These boys are clever and witty. Attractive Dakin (James Breedlove) is the leader and most sought after of the group. Musical talented Posner (Ryan Foster) is Jewish and gay with a crush on Dakin. The less intellectual Rudge (Nic Knerr) is a terrific sportsman with a four-handicap golf game. The class cut-up Timms (Zac Schuman) carries a great part of the humor. The other students are Muslim Akthar (Juan Carlos DeLa Rosa), Crowther (Bradley Mena), Lockwood (Christopher Morell).
Headmaster (Stephen Schwartz) hires young instructor Irwin (Jeff Cohlman), who teaches ingenious ways to ace the exam by devising novel approaches for defining history. He is somewhat overawed by Hector who has an ongoing competition with the boys who enact famous clips from classic film of the 1940s and 1950s. Hector knows not only the title and year but also the director and screenwriter. In these scenes the superbly performing cast give the play a big lift between semi-didactic scenes when Irwin is in charge.
The play comes to life with the ensemble performance of the boys. Breedlove as Dakin exudes sexual attraction and leadership and Ryan Foster as Posner, with a praise worthy singing voice and stage presence, is an excellent foil for Breedlove. Zac Schuman as Timms assumes the rambunctious role with pizzazz and Nic Knerr’s macho but insecure projection of Rudge is right on the mark. Decker deserves accolades for rounding up this young professional cast.
Further description of the storyline that includes dramatic scenes becomes a difficult task in a short review. Richard Ryan who usually plays flamboyant roles, is surprisingly good as the fatally flawed Hector, as he holds his own amongst the young cast. Jeff Cohlman’s Irwin has a ring of authenticity with initial reticence blossoming into control of the class. There are problems with this production but they not sufficiently noteworthy except to mention that the almost three hour running time may be a reflection of the pacing in the scenes not involving the boys.
Courtesy of TheatreWorld Internet Magazine