Review: The Boy at the Back of the Class at The Lowry ‘busts many myths surrounding refugees’

Onjali Q. Raúf’s beautiful children’s novel The Boy at the Back of the Class is an empowering story which educates, informs and busts many a myth about refugees. More importantly, you see the human beings beneath the frenzied news headlines which some think are designed to whip up hatred and fear.

The Boy at the Back of the Class at The Lowry

Ahmet (Farshid Rokey) arrives at school without much fanfare.

The other kids know he has moved to the UK and to them he is either an enigma and they long to find out more or plant food for the bullies to grow and continue picking on others.

Either way, nobody sees this frightened young lad as a ‘person.’

The pain of losing a parent

Alexa (Sasha Desouza-Willcock) has lost her dad, so she knows what deep loss means, as it sits at the back of her mind every single day.

When she has a bad day, she pushes everything out of the way and sits firmly at the front. She is enamoured with Ahmet and determined to find out who he is. With the help of her geeky and lovable pals, she befriends him and sets out to support him and show him that kindness does exist.

Meanwhile, bullies come in all shapes and sizes, including a teacher and some parents of other kids.

A fantastic adaption of a beloved book

Nick Ahad has done a great job of adapting this beloved book.

On the night I attended, young children in the audience knew what was coming. But for them, they get what they came for and more.

This is not simply cast members always saying the audience’s favourite lines of dialogue.

It retains the heart and the humanity but it is never fearful of explaining where prejudice comes from.

Retaining ‘heart and humanity’ but explaining prejudices

The performers are directed to shout their lines, as there is a classic tussle between the fact we have grown adults playing children.

In the beginning, this is incredibly distracting, as it feels like an assault on the senses.

But as the play gets into its stride, and the characters get less excitable and focused on their plan to help Ahmet, the actors begin to dig deep and pull out the humanity of the piece.

I loved Kloe Dean’s movement which highlights what Ahmet has gone through in such a simple but effective way.

We see the waves dance and crash, and it reflects the trauma, sadness and hope all within a few minutes of creativity.

I wish there was more of this, as there are moments when the children ‘tell’ and this element of ‘show’ means that younger members of the audience get the chance to use their imagination. And they are willing this play to do that.

There is one mesmerising scene when Ahmet finally speaks and he chooses the audience to confess how he is feeling.

You are drawn in because you feel privileged, as he has not spoken to anyone else, due to the language barrier.

In this acutely observed scene, you feel the alienation, desperation and loneliness that someone new to the UK would experience.

When Ahmet fights back against a bully, it is done in slow motion and again, this one scene explores his PTSD without words and it is stunning as a result.

When this production takes a breath and pauses, magic happens and full-on emotions kick in.

A fearless adaption

The play is never fearful of exposing some home truths, including the fact that adults’ cruel jibes and prejudice impact their children and taint their view on things.

Simple and effective set and costumes from Lily Arnold

Lily Arnold’s set and costumes are simple and effective and can flip instantly and become a market one minute and Buckingham Palace the next.

Ryan Day’s lighting design is striking and shines a light on the plight of people like Ahmet, as they enter a country unfamiliar to them but face many questions from locals which feel like an interrogation.

Priya Davdra oozes kindness as both Alexa’s mum and her teacher Mrs Khan, and Sasha Desouza-Willcock presents the inquisitive nature of being a pre-teen with ease.

Farshid Rokey is excellent as Ahmet, as his turn is fully rounded.

He explores his flaws, his fear, his excitement, his longing and his desires. And he never feels like a victim, he always feels like a human being.

Excellent cast

The rest of the cast is excellent with many of them playing multiple roles, and constantly changing costumes and accents at speed.

The Boy at the Back of the Class tickets at The Lowry

The Boy at the Back of the Class tends to talk the talk too much during some key scenes. But when it walks the walks and allows the poignant plight of so many to take centre stage, it takes flight and moves you.

The Boy at the Back of the Class is at The Lowry until 30th March. Tickets can be booked by clicking here