| Review by Lisa Bennie, October 2006
How little the ethos of education has changed in three thousand years. As the Ancient Greeks taught their boys not for jobs but to become effective members of society, so do we. To become said ‘effective’ person requires a set of standard examinations passed, attendance of a “good” university and consequently the world will welcome you with open arms once you graduate with your first in philosophy. Education will always draw conflicting ideals, and this revival of Alan Bennett’s play, coinciding with its big screen release, sets to address the discoveries he made during his time in the Oxbridge world.
In the 80s in a grammar school in the north of England eight boys with good A-levels prepare for the final challenge of their school education; getting into a good university. As their headmaster (William Chubb) pushes for either Oxford or Cambridge it’s up to their old English master, Hector (Stephen Moore), and new history teacher, Irwin (Orlando Wells), to prepare them for the entry examinations. But with conflicting opinions on teaching methods and education will the over-friendly Hector and straight-laced Irwin be able to provide the boys with the knowledge not only to pass the exams, but for life?
Exploitation plays a large role in the relationships within this production, and exposes an education based on well meaning as false. As the headmaster exploits the boys academically, the boys exploit their knowledge for exams, and Hector exploits the boys sexually. With a whiff of The Dead Poets Society, education for knowledge versus education for examination is what separates Hector from the rest of the characters as his goal is to give the boys something to remember, not just an easy ticket into the Oxbridge world. As the hanging strip lights (designer Bob Crowley) which fade off into the back of the stage hint at many classrooms and the infinity of learning, Hector tells them the most important thing about knowledge is to ‘pass it on’.
Director Nicholas Hytner tackles the issues of inappropriate pupil/teacher relationships and homosexuality carefully, but Bennett’s script never strikes as fully plausible. The boys openly discussing their sexuality and acceptance of a teacher touching them verges on the unbelievable, and the three gay characters facing the worst outcome come curtain down less than coincidental. An 80s setting may be an attempt to justify such inaction in what is fundamentally a molestation case, but also acts to heighten the air of snobbery and classism associated with Thatcherism. An impressive cast which capture the essence of the classroom relationships, this production achieves the controversy and nostalgic sadness often associated with our experiences in the system.
King’s Theatre, Edinburgh, until Sat 21 Oct, then touring
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