BWW Reviews: THE HISTORY BOYS at WOOLFE STREET PLAYHOUSE

It won't stop raining. Whenever I'm at Woolfe Street Playhouse we stand outside, rain or shine, and talk. Before a show, on breaks, during intermission and after the show. We usually discuss the play in question, whether it is a performance or rehearsal. Most of us have worked together and if we haven't worked together, then we've seen each other perform.

We're talking about more than theatre. There's something ancient about it, especially when its raining. That area of downtown Charleston reminds me a lot of London- gritty, industrial- especially with the cold and the smell of the rain. Whenever I'm there (or in any theater really) I feel like I'm a part of something lasting, something so much bigger than myself. Sierra- the stage manager- usually calls us inside and so it goes. Anyway, its familiar. And its still raining.

I knew very little about Alan Bennett's THE HISTORY BOYS before seeing it last Friday night. The only thing I knew was that the cast had history together . Many of them have worked together in the past, and every single one of the boys went to or is currently enrolled at the College of Charleston. They are all about the same height- on the shorter side. Not only that, they all have a distinct English schoolboy look. They wear white shirts, navy blazers and ties (standard school uniform), each with his own dash of personality: sleeves cuffed or ties loose or shirttails hanging out etc. Each boy has his own story, his own contributions and affectations. And the hair. These guys have fantastic hair. From the moment 'You Spin Me Round' started playing you could feel a spark from their energy. A welcome thing, after coming in from the rain.

Its lucky that this cast was already as close as it is. This show is being performed on what we'll call 'short-term notice'. The cast had 3 weeks of rehearsal, as well as a full theatre every night- as the MainStage series is rehearsing at the same time, right next door. Director Robbie Thomas was even duty-bound to step in and play the Headmaster due to the time constraint.

This is the inaugural production in Woolfe Street's new SideStage, a black box space behind the large Davis Theatre MainStage. The room is low and dark. The home-made hanging lamps are edged with fringe. The back corner is lit by the marquee lights spelling 'PARTY', from their production of Andrew Lippa's THE WILD PARTY last November- a familiar touch. At the back of the house, along the wall, behind the last row of seats, is a vintage, velvet couch with a matching set of chairs. The walls are hung with huge pieces of red and gold velvet, which seem to glimmer in the sepia-toned light. It is unlike any performance space I have ever seen. The stage itself is at the same level as the audience, with open sides. The set served as two different classrooms and an office- the changes between which were performed by the boys themselves. It is an intimate space, and this show has some very intimate moments. It is a perfect fit.

The overarching story is about the nature of acquiring knowledge, how to use that knowledge, and the methods used to teach. The three teachers in the play: Lintott, Hector and Irwin, each have their own approach to teaching their respective subjects. They have taught this group of boys for many years and are now in the process of preparing them for their University interviews. Lintott is old-fashioned. She teaches the facts. She never adds the metaphorical 'umbrella to the cocktail' the way her flamboyant colleague Hector does. Hector teaches English behind locked doors (literally), and allows the boys an almost complete freedom, as long as they deliver their verses with passion and excitement. Irwin arrives as a substitute teacher for history, and quickly throws the boys into a new system of learning that causes uproar. Hector and Irwin cannot see eye-to-eye. Irwin is not interested in passion, nor is he terribly interested in facts. He says, rather than taking the 'front door' like everyone else, why not 'go in the back? Or better yet, the side.' He wants the boys to use their creative powers alongside the facts to come to new, unexpected conclusions. Irwin believes this in the only way they will achieve entry into Oxford or Cambridge. Lynda Harvey is a powerhouse as Lintott, the only female character. She singlehandedly defends womankind for being the ones who have to put up with men, and watch them screw up the course of history over, and over again #girlpower. She is caring, concerned and though you don't hear too much about the relationship between Lintott and the boys, you do learn that their nickname for her is 'Tottie', which suggests to me that they are quite devoted to her. Christian Persico is fascinating as Irwin. He was careful to not let any cracks appear in his exterior and remains steadfast in his methods until he is challenged by Dakin (one of the boys), both sexually and intellectually. The tension between Persico as Irwin and Spencer Jones as Dakin was so intense and charged during one penultimate scene, you could have heard a pin drop.

Alan Bennett based this play on many of his personal experiences from grammar school. The boys are all about 19 years old, and they are brilliantly smart and clever. Their conversations with each other are cheeky, but totally honest and straightforward. Their conversations with Hector are playful and witty. The bond that they share with Hector is close enough that he will sometimes offer certain lucky students a ride home on his motorcycle, an honor that is hotly contested. Hector's favorite boy is Dakin, the student who all three professors agree is most likely to get into Oxford. Dakin is cocky, and exceedingly proud of the fact that he has been getting closer and closer to bedding Fiona, the headmaster's secretary. He is therefore surprised to find himself attracted to Professor Irwin upon his arrival, not only to the man, but to his new way of teaching. Dakin usually confides in the uber religious Scripps, an aspiring writer, who is responsible for much of the play's narration. Spencer Jones, as Dakin, gives a hilarious and wonderfully physical performance. One exchange with Scripps where he compares the conquering of a woman in the bedroom to deploying (or withdrawing) forces in battle, is a delight. Corey Webb's portrayal of Scripps is of a devout friend, as well as church-goer who, like many of the boys, seems indifferent to judgment and discrimination. This becomes most valid when you realize that Hector is homosexual. He offers the boys rides on the motorcycle for more than just companionship. The story takes a quick turn when the headmaster's wife spots Hector fondling one of the boys on his bike.

This is when things get interesting. All of the boys know Hector is homosexual. They accept rides from him knowing what might happen, but they are loyal to him. They discuss it openly with each other, and still want to go with Hector when he makes the offer. This play is set in the 80's, but I still found it amazing to see how accepting they were of Hector's persuasion. One boy, Posner (Bronson Taylor), is coming to terms with his own sexuality and is desperately in love with Dakin. He confides in Hector, as well as Irwin because there is a safe, open dialogue between the students and teachers about pretty much any topic. That is not to say that this play condones molestation, because it certainly doesn't; but it does make you think about how personal history can affect relationships. The only character who is openly disgusted with Hector is the headmaster, who is painted as a dolt, nee 'twat' throughout the play. The boys all worship Hector. They wouldn't betray him. Robin Burke's portrayal of Hector is earth-shaking. I fought myself, not wanting to find him sympathetic, but it was impossible. An exchange between Hector and Posner after Hector has decided to leave the school rather than be fired, is very poignant. Hector says~

'The best moments in reading are when you come across something - a thought, a feeling, a way of looking at things - that you'd thought special, particular to you. And here it is, set down by someone else, a person you've never met, maybe even someone long dead. And it's as if a hand has come out, and taken yours.'

After he finished speaking, due to the depth of Burke's performance, I felt like I finally fully understood Hector. There is such a sense of loneliness here and an urgent longing to create something lasting. He wants to be remembered; to become a piece of history, but not for the wrong reasons. He wants to be the teacher that makes a lasting impression through his teaching. Though his methods may stray, his intentions remain pure. There is still hope.

Its still raining. At intermission we all went outside. While standing there talking with my friends, I had one thought that I didn't share. In that moment I saw everyone as a piece of history: my personal history, Woolfe Street Playhouse's history, Charleston's history. We are all a part of each other's history and plays like THE HISTORY BOYS are important because they remind us of that. So do as Hector says and 'Pass it on, boys. That's the game I want you to learn. Pass it on.'

THE HISTORY BOYS runs at Woolfe Street Playhouse through March 8- Tickets are available at http://woolfestreetplayhouse.com/events/the-history-boys/