The History Boys

‘Now I understand,
What you tried to say to me,
And how you suffered for your sanity,
And how you tried to set them free.
They would not listen,
They did not know how,
Perhaps they’ll listen now.’
-Don McLean, “Vincent (a.k.a. Starry Starry Night)” (1970)

Nestled in on the corner of Loeman and Napier Street in Strathmore is the Strathmore Community Centre.
From the outside the Centre appears like your generic brick building built by council; rather small, dull, and with all expenses spared. Yet within is another story.

For the Community Centre is home to the Strathmore Theatrical Arts Group (S.T.A.G.), a group founded in 1955 with the aim of bringing together like-minded individuals and providing them with the opportunity to succeed within a community theatre environment.

Suddenly this premise transforms this generic brick building into a shining beacon of creative hopes and dreams; where theatrical passions are ignited for the first time or rekindled; and, where a community is illuminated through both the talent and text on display. A banner hung on the outward wall informs the community that tonight at 8 o’clock at the Strathmore Community Centre the Strathmore Theatrical Arts Group will be performing Alan Bennett’s ‘History Boys’, as directed by Brian Moynihan.

Rounding the concrete path I discover a small box-office both propped up against the wall in the entranceway, where a lady with all the tickets for tonight’s performance neatly laid out infront of her greets me with a beaming smile. She hands me the complimentary ticket and, seeing my frost bitten face, informs me that there are tea and biscuits inside on a table to the left.

Stepping into the warmth of the hall I hear an urn coming to the boil, Don McLean’s ‘American Pie’ playing in the background, and the sounds of proud parents, relatives, and friends speaking at length of their stars in the making. From time to time they pause their conversations and look up at the performance space with delight and anticipation of tonight’s performance.

Looking to the side of the performance space my eyes light upon a little timber bar with a Stag insignia up the top. Two men in theatre blacks look out from the bar at the sizeable audience with a sense of satisfaction and accomplishment worn upon their faces.  I make my way to my red plastic seat and sit down. There is a lottery of fluffy cushions littered about the seating, yet unfortunately my seat was not a winner.

Looking up at the lighting rig, I see two lights with amber gels in them and the rest without. As I survey their positioning I make the discovery that, due to the design of the hall, the lights point almost directly into what would be the natural eyelines of the actors onstage. Meaning that, unless risking blindness, the actors will no doubt cast their eyes up, down, left, and right but never straight ahead.

Looking further on I see a light in the middle of the performance space, which would probably suffice for the entire performance with a couple of washes and specials on the sides, so as to open up the performers and give them a lot more freedom. However, I would wager that this overpowering lighting rig would be a marvellous education for someone wanting to learn how to set and focus lighting and work with a full board from the lighting desk, albeit at the expense of the performance.

The performance space depicts an English classroom: brown skirting boards, butterball yellow walls with a pin up board in the centre, and an old wooden desk. The chairs appear very modern, yet I don’t believe that Set Designer Tony Leatch and Brian Moynihan were going for out and out naturalism but rather to give a general sense of time and space.

The audience took their seats with the ringing of a tiny bell by one of the S.T.A.G. members and the performance got underway.

…
It is at this point that I assess that the review I am to write should indeed mimic the aims outlined by S.T.A.G. In that it should serve to provide those within the production the opportunity to succeed within a theatrical environment.

For, I feel, community theatre is a realm unto itself and one to be treated with care and respect. Particularly for a theatrical group that has been serving its community for over 55 years.

Roderick Chappel was quite surprising in the role of HECTOR. Both his accent and overall physicality were of a very high standard. Chappel’s character-voice for HECTOR contained a certain warm breathy quality, which served to highlight HECTORS vanity.  Chappel’s better moments as HECTOR were when he was interacting with the boys in high spirits. For suddenly his HECTOR became alive and really engaged both his fellow actors and the audience, as Chappel did struggle in weighty dramatic moments. For his HECTOR was quite stuck in the one state.  In looking forward to the next production I urge that both he and the director explore ways of building a greater character arc.

Peter Hatherley’s performance of the HEADMASTER was highly comical. His affected speech (which swapped r’s for w’s) and foppishness made for great drama. Hatherley played a brilliant supportive role. Occasionally some of his words were lost, but his HEADMASTER certainly did draw a reaction.

Alex Lance as IRWIN was one of the real anchors of the show. His performance was a clear standout amongst the ensemble, and one worthy of a coming back to the theatre another night to study its brilliance. It is clear that Lance’s IRWIN gives the platform for other performers to step-up.
Lance portrays the inner drive, struggle, and torment of IRWIN to a tee.

In her second appearance for STAG Caroline Roberts’ MRS LINTOTT is coming along well. Roberts’s has a remarkably strong stage presence, and really injects herself into each scene that she is in.  Roberts did struggle at times to hold down an English accent and often reverted to something more like Brooklynese. Yet her energy, pace, and life she injected into each scene more than made up for this. Roberts (like Lance) was a real linchpin in big scenes. Her listening and reacting was of a professional standard.

Roberts also had a small habit throughout the play to turn to the audience at the end of a comical line and pull a funny face. This detracted from the drama, and is something Brian Moynihan should have picked up on through the rehearsal process.

Darby Turnbull debut performance as POSNER was terrific. I think his boldness and commitment is something to be applauded, as POSNER was a very believable, likable, and frustrating character.
 

Occasionally Turnbull anticipated and reacted too early to moments of drama, but I feel this shows that he is on the ball. One of the hardest things for an actor to accomplish is to pretend that they are hearing everything for the first time.

POSNER’S unrequited love was played superbly for a boy so young. Turnbull is definitely worth watching and I look forward to seeing him in future productions.

Michael McStay appears to be a seasoned performer for someone so young. His DAKIN oozed confidence as McStay commanded the stage at will and had the audience hanging for his every word. I do feel that McStay could have gone further with DAKIN’S insecurities, and used them as a motivating factor for his seduction of IRWIN. However, this is as much to do with the director as the actor.

Of the other five minor parts I believe Brian Farrell as RUDGE ought to get a mention, as I thought he handled his part superbly and I can’t wait to see him given a bigger role in one of S.T.A.G.’s upcoming productions.

I was baffled somewhat by the performance of Dusan Dobrilovic, as his character voice sounded somewhat like ‘Dicky Knee’ from Channel 9’s ‘Hey, Hey, It’s Saturday!’ This I felt detracted from the moments of drama, as I was unable to take the character seriously.

All in all, S.T.A.G.’s performance of Alan Bennett’s ‘History Boys’ is a bold undertaking by the company. A bold move which highlights the groups aim to be an innovator and educator within the realms of community theatre.
I felt the performances a real lottery, and thankfully enough the standouts in Turnbull, Lance, and McStay make this show a must for those that are inspired by great grassroots theatre.

Andrew is a performer now based in Melbourne. He holds a Bachelor of Arts in Acting for the Screen and Stage; an Honours in Drama and Theatre Studies; and, a Graduate Diploma of Education. Andrew has enjoyed a relative extensive performance experience: touring theatre in education and other productions across Australia and performing in many of Melbourne’s theatre venues in a variety of roles from lighting to acting.