Thought provoking and profoundly funny, Spotlight Theatre Company’s first class (hons) production of The History Boys, directed by Cassie Hall and musically directed by Ray McCloud is, by very high degrees, a lesson in fine acting by the whole ensemble.

In Alan Bennett’s beautifully written play a production can rise or fall by the commitment and standards of the cast of boys and the ultimately important casting of their wayward teacher, Hector. If they get it wrong the play can be an embarrassment of misunderstanding and lazy commitment. If they get it absolutely right and spot on with the French language; the clipped dialogue referencing classic films such as Brief Encounter; the academic feel of the 1980s; the importance of the relationships and the bravery of the parts; history will tell of a superb production. This Spotlight Theatre Company class of 2017 production of Bennett’s play, that of which reflects on class room anarchy, on awkward adolescence, hidden homosexuality and rivalry will go down notably in Nottingham amateur theatre history as one to rival a professional production. Albeit, on a much smaller budget – but certainly no smaller theatrical stature in depiction.

With Rob Goll ruling sublime cast as General Studies teacher Hector the company are off to a flying start. Goll has acres of personality onstage but his actual performance in this play is a non selfish and bighearted one. He allows his other actors to truly work with him in displaying the love between him and his pupils, however that might be expressed.

Goll’s Hector is sometimes necessarily showy and always enjoyable to experience. He is at his finest when encouraging the class of late teens to be inwardly and outwardly poetic and at times downright daft to his own financial benefit. Rob Goll’s command of the French language is acutely believable and the scene with the headmaster (Mike Butler) in which Hector’s bad behaviour on his motorbike with a boy on the back is very finely drawn by both actors. Overall this production definitely merits from its profound understatement that defines its acting terms and thereby the subtle performances.

Mike Butler is scarily believable as the school’s old fashioned 1980’s headmaster including his ill fitting power shoulder jacket. However, Butler’s performance is a measured one rooted in real truth not one falsely garnered from a comic book personality. The actions of the headmaster re the sacking of Hector are of questionable debate. Such is the nature of theatre.

Equally, professional performer Jackie Dunn shines as Mrs (Totty) Lintott, making full use of the only speaking female role in the show. Her delivery of her wonderful passage “… when I was teaching in London in the seventies there was a consoling assumption that not very bright children could always become artists…” is exemplary. Of such astutely clever scripting history can occasionally be made, although not exclusively so.

In his own memoirs, Alan Bennett even reflects on his own bright intelligence as a young man being admitted to Cambridge. He considers himself greatly in awe of others much more intelligent including the highly educated young men in the University circles in his own time and was he considerably influenced by the gay poet Auden. This is regularly reflected in the body of The History Boys as is the nature of opposing viewpoints and turning history on its head to make a point and to be controversial. History is not a dead subject but one that happened seconds ago with wildly varied definitions. You could almost make it up as you go along – as many have done including the current president of the USA with his ‘alternative facts’ masquerading as abject lies.

Given that Alex Huntley has scarcely been on stage before in his life his credible performance as the supply teacher Irwin has a subtly profound authority to it. Though it is unlikely that many of the audience would agree with the statement that Bennett gives to Irwin, and to paraphrase, “ Dons… most dons anyway … think the theatre is a waste of time. In their view, any undergraduate keen on acting forfeits all hope of a good degree.” Mr Alan Bennett’s dry wit or irony in ‘vicious mode’ one suspects.

From the young men in the cast, all of whom, demonstrate a deep commitment and a formidable sense of thorough enjoyment as the cast of smart pupils, it is difficult to pick out specific performances. This reviewer’s generalised declaration is not a ‘cop out’ but an honest recognition of all of the young talents that not only gel wonderfully on stage in The History Boys at The Arts Theatre but, create the scene transitions admirably well. Without this speedy scene shifting re-engagement apropos the showing of this episodic play it could potentially be rather labour-some but the estimable Spotlight team direction avoids this potential failing magnificently.

Tightly timed, even within the parameters of the apposite 1980s soundtrack, their hard working commitment to the quick scene changes is very commendable. Stage manager Amy Rogers-Gee and her team also help with the slickly actualised transitions. Additionally, the pupils’ individual and ensemble acting is of the highest quality and admirable maturity. The ‘boys’ in this show are as follows Dakin (Joe Smith), Scripps (Patrick McCrystal) Rudge (Stan Cook) Crowther (Jack Grace Buttenshaw) an exemplary Posner (Alexander Tilley) Timms (Matty Collins) Akthar (Nathan Bell) and Lockwood (Alec Boaden).

Finally, as Irwin academically triumphs in The History Boys we might well be moved to consider Alan Bennett’s words about candidates.

“Candidates do well in examinations for various reasons, some from genuine ability, obviously, but others because what they do in examinations is what they do well; they can put on a show. Maybe it doesn’t work like that now that course work is taken into consideration and more weight is given to solider virtues. But it has always struck me that some of the flashier historians, particularly on television are just grown up versions of the wised-up schoolboys who generally got the scholarships (myself included).” Alan Bennett.

Flashier or not Spotlight Theatre Company certainly put on an excellent and intelligent show and this reviewer looks forward to many more of their offerings if the standard is as atmospherically and technically high as The History Boys.

“The History Boys”

Nottingham Arts Theatre

The play opens in Cutlers' Grammar School, Sheffield, a fictional boys' grammar school. Set in the early 1980s, the play follows a group of history pupils preparing for the Oxford and Cambridge entrance examinations under the guidance of three teachers (Hector, Irwin, and Lintott) with contrasting styles.

This is the only school-play in English drama that is about the process of teaching. Not just about the sexuality or politics of school life but about the daily process of opening up young minds. We get to see the heroic Hector, and the insidious Irwin - the play's intellectual antagonists who just so happen to be in the same boat sexually - at work in the classroom.

The play is also sublimely funny, not least in a scene where Hector improves the boys' French by getting them to impersonate the clients of a bordello, only to be interrupted by a surprised and astonished headmaster.

The original film paved the way to stardom for Matt Smith, Dominic Cooper and James Corden. Cassie Hall’s directed production shows some of Spotlight’s very own stars in a very favourable light as well.

The humour is as sharp as when Bennett wrote the play and the whole 1980’s feel is still very evident from the soundtrack used. What is also still crystal clear is the distinctive light and shade of the story with the repressed but evident, to the boys at least, sexuality in the all boys schooling of the period.

Robert Goll (Hector), as always commands the stage and his background in Shakespeare meant for wonderful projection and stage presence. For a sixty year old character like Hector though, Rob looked decades younger. An absolutely watchable character performance.

Alex Huntley (Irwin), i know from the University's Musicality shows and makes his local theatre debut as the young teacher who is drafted in to rock Hector's teaching boat. A good solid performance and completely believable. The passion his character has is wonderfully played out.

Mike Butler (Headteacher) gives an authoritative performance throughout and completing the teaching staff is Jackie Dunn (Mrs "Totty" Lintott. You'd hardly recognise Jackie in this role because her usual glamorous self is made under for the dowdy role. I remember Frances De La Tour from the film and there was a certain amount of 80's glamour in the character and I felt Mrs Lintott could have been made to look a tad younger. In fact Jackie could have played it looking like her usual self, young and attractive.I'd forgot what a potty mouth Lintott had though!

Joseph Smith (Dakin) played the role as the "head" boy in his stride and looked comfortable with the adoration from Posner (Alexander Tilley), and why shouldn't he, Dakin is full of confidence and knows what he wants and usually gets it.

Alexander is another actor making his debut for Spotlight and a really assured performance he gives as well. A voice of an angel with the blond good looks of the self-troubled character, making him the perfect choice for the role.

Patrick McChrystal (Scripps) is also part time narrator and Posner's pianist accompaniment. Confident and relaxed in this role, which is what I've come to expect from Paddy.

Stan Cook (Rudge) also plays a blinder as the not as clever as the rest lads. Is there a mistake in the programme as it says that Stan is only 15 years old? Really? A very mature performance with credible CV of theatre roles already behind him and this part enhances that roster of roles.

Jack Grace-Buttenshaw (Crowther) is another one making his debut in adult theatre and for Spotlight as well. A young actor to watch for in future productions.

Matty Collins (Timms) is another one of those actors i feel comfortable watching and knowing that he was in this show enforced my knowledge that I would love this production. A lovely character-driven role and we can all remember this type of character in every class.

Nathan Bell (Akthar) has a credible list of parts behind him in the Nottingham Playhouse Youth Theatre and has worked with some of this cast, and director Cassie Hall on previous productions.

Last, but by no means least (let's face it someone has to be last mentioned) is Alec Boaden (Lockwood), who obviously started acting very young as he has been acting for about 12 years and has come up through the ranks of the widely acclaimed TV Workshop in Nottingham. Alec has a busy year ahead and I hope that i get to see more of his work.

All the cast work so well and look like a class of teenage lads, which makes this play so easy to watch and true to life. The bonding of the characters and cast are plain to see.

One of Bennett's finest and much loved pieces hasn't faded with age and this cast and technical team present us with a wonderful piece of classic theatre.

There are small musical interludes from the cast, but it still gets the emotions going when the cast sing "Bye Bye Blackbird".

Did I touch on the technical team? I did so let's expand a bit. Keeping true to original, director Cassie Hall manages to keep the action going and fresh with "fill ins" from classic 80's hits which maintains the smooth scene changes with minimum fuss.

Ray McCloud (is that the correct spelling in the programme?) was responsible for the music and Amanda Hall produced.

Stage managing and keeping everyone where they should be, when they should be is smooth operator Amy Rogers-Gee and her crew.

I can't not mention the lights, which were timed to (almost) perfection ( I saw just one missed cue by a second - I can be so picky at times).by the lights wizard Tom Mowat. The ending of the stark black and white image of Hector in the spotlight was eerie and so effective. The timing of the spot to the cut off of the music was snappy.

All in all this was always going to be a success with me as I love the film and love the theatre version and this production is up there with any professional production you may have seen in the past.

A great cast who acted with conviction which created the whole feel of the period and being back in the classroom. Plus all the literature mentioned swept me back to my school days. i didn't realise that i could hark back that far to be honest, but I did.