The Boy at the Back of the Class

Alien Nation

The Boy at the Back of the Class

by Nick Ahad, based on the novel by Onjali Q Raúf

Rose Original and Children’s Theatre Partnership at the Rose Theatre, Kingston until 22^nd February

Review by Thea Diamond

Nick Ahad’s adaptation of tween novel The Boy at the Back of the Class powerfully depicts the arrival of nine year-old refugee Ahmet and how he, his classmates and adults around him, navigate this complex and disorientating transition.  Director, Monique Touko, interweaves themes such as friendship, camaraderie and acceptance into the complex tapestry of alienation, bullying and trauma, making this at times a roller coaster of emotions which is accessible to both the adults and children in the audience.

We are transported into the world of the primary school where designer Lily Arnold’s evocative use of wooden PE climbing bars, the staple of many a multipurpose school hall, cleverly depict different landscapes within the school and also out and about in the London world our Year Five heroes inhabit.

Kloe Dean and Maisie Carter’s effective fight chorography along with use of movement and mime artfully recreates the school playground’s football game.  The beautiful use of a blue parachute to recreate powerful waves reminds us of Ahmet’s journey both literal and symbolic as he moves across oceans and cultures.

Close knit friendship group lead by Alexa, whose innocence, enthusiasm and idealism are perfectly portrayed by Sasha Desouza-Willock, welcome Ahmet into their gang by offering sweets, a resourcefully sourced pomegranate and the universal language of football.  Shy and awkward Michael (Abdul-Malik Janneh) along with curious and overactive Josie (Petra Joan-Athene) comically vie for gold stars, whilst their American pal Tom (Gordon Millar) completes the quartet.

Farshid Rokey’s portrayal as displaced child refugee Ahmet stands out as he breaks the fourth wall to address the audience of his disorientation in this strange world around him, inviting us to listen to his story and hence allowing us to actively stand in his shoes and walk around in them.

All the adult cast members portray their nine year-old characters with such playfulness and subtle attention to detail, such as constant fidgeting, straining to have teacher pick them first and struggling to stop asking questions, that we forget the age discrepancy in their brilliant casting.

Quick and slick costume changes mean that the cast effortlessly become adult characters in this phrenetic world.  British stereotypes abound as Janneh becomes a lovely-jubbly London cabby, Joe McNamara and Zoe Zak as racist parents at the school gates, Priya Davdra as the kind and loving primary school teacher, and Zoe Zak as the bigoted older teacher.

We the audience move from joy and excitement in one scene to the uncomfortable experience of witnessing discriminatory attitudes being transmitted between generations, back again to comedy and almost panto-like fun where heroes justly triumph and baddies get their just deserts.  We learn the powerful message that small acts (in this case simple and not all together planned) are like pebbles thrown into the water, causing ever larger ripples that in this case lead to powerful and mighty change.

Thea Diamond, February 2024

Photography by Manuel Harlan