Review: THE BOY AT THE BACK OF THE CLASS - The Lowry (15/04/26)

Rousing, riveting and relevant, this new play shines a light on the plight of refugees

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Given the various hardships, horrors, and impossible situations experienced by countless displaced persons in the middle east, one can only imagine going through it as a child, let alone having to try and communicate it to a classroom full of 9 and 10 year olds. First premiering at the Rose Theatre in 2024, and recently awarded the Olivier Award for best new family show, "The Boy at the Back of the Class" is based on a book of the same name, telling the story of young Syrian refugee Ahmet (Serkan Avlik) who joins an English year 5 class, navigating language barriers, bullies and racist ideologies that threaten to alienate him and others like him.

Fortunately for Ahmet, there are more than one or two fellow pupils who are not only on his side, but actively seek to understand, even befriend the young asylum seeker. It's this steadfast kindness, open-mindedness and loyalty that prove the catalyst in this piece, as narrator Alexa (Sasha Desouza-Willock) and her friends Michael (Abdul-Malik Janneh), Josie (Petra Joan-Athene) and Tom (Jonny Warr) feel deeply for Ahmet and his struggles, and fight to reunite him with his parents who are missing in action.

It's hard enough being the new kid, and there is a juvenile naivety yet heartfelt sincerity about how these child characters (played by adult actors) are portrayed; we find it easy to suspend our disbelief and enter their world, which is partly down to Nick Ahad's adaptation of Onjali Q. Raúf's material, as well as through the performances of what is an endlessly talented cast, under the expert direction of Monique Touko .

credit: Manuel Harlan

Though the overriding narrative is a touch formulaic, where it really soars high is in its themes and depictions of tougher subject matter, and what is particularly notable is how, in spite of this piece clearly being catered to families, the writers have not fallen into the trap of underestimating the intelligence of their audience. There is joy, energy and childish wonder galore, however the more difficult, harrowing material is never glossed over or treated with kid gloves, yet it somehow it still feels fully palatable for a younger demographic, for which writer Ahad and director Touko should be highly commended.

Perhaps the most vivid, profound takeaway from this story, though, is just how relevant it is today, it holds up a mirror up to the current political and societal landscape tremendously well, whilst also delving into the idea of inherited ideologies, and how prejudices held by adults can rub off on younger, more impressionable minds. This is particularly well explored through main antagonist Brendan the Bully (brought to life with gusto by Max Jordan), who seeks to make life as difficult as possible for Ahmet by means of hateful rhetoric and taunts that were clearly passed down to him by his parents. It may uncomfortable viewing at times, but that is very much the point, as the addressing of this behaviour will more than likely strike a chord with audiences, regardless of their age.

Visually this is a stunning production, with high quality storytelling accentuated splendidly by an equally ample array of creative elements, most notably through Lily Arnold's inventive set design, as well as thrilling, evocative lighting design by Ryan Day, and a marvellous soundscape masterminded by recent Olivier Award winner Giles Thomas. Everything is carefully considered by director Touko, and this shows with great panache.

credit: Manuel Harlan

It is clear that the legitimacy of the story is at the heart of this production, and there is no shortage of diversity on the stage, perfectly aiding in telling such an internationally vibrant tale. Serkan Avlik's portrayal of Ahmet just oozes authenticity, bringing his own Kurdish heritage to the role and making it feel refreshingly real; there is a vulnerability yet quiet resolve about his performance, and you can't help but root for him, especially as he begins to open up during the second act. He shares storytelling duties with Sasha Desouza-Willock, whose colourful, confident delivery contrasts greatly with Ahmet's more reserved demeanour, however this is equally compelling, and the pair compliment each other beautifully.

What is abundantly clear with this piece is that Ahad and Touko wanted to communicate topical societal issues to a younger audience, making the material easily accessible whilst never watering it down, as audible gasps were drawn from the audience on more than one occasion. This is a heart-warming, buoyant, and enormously entertaining new play, with a message that will benefit anyone who sees it, and not just the youngsters in the audience...

★★★★☆ (4*)

"The Boy at the Back of the Class" runs at the Lowry until the 18th of April (tickets)

{PR/Gifted tickets}