Coram Boy Delivers Powerful Performance

On entering the Hall, one was struck by the staging, reaching out into the audience, bringing the play to us; the audience was sat in a horseshoe around the stage. The gothic stage set, executed painstakingly by Ciaran Bradley, Rosie Byrne, Georgina Bouzyk and Helen de Mattos evoked the opening scene in Gloucester Cathedral, with Meshak Gardiner (played passionately by Sugden) praying to his ‘angel’.

The novel Coram Boy, written by Jamila Gavin was published in 2000 but then staged at the National Theatre in 2005 by Helen Edmundson. It tells three entwined stories: Alexander Ashbrook (Alyssa), a young musician who wishes to follow dreams that clash with his father’s aspirations; Meshak Gardiner, under the care of his abusive father, Otis, who sees things that no one should see and Melissa Milcote (Olivia) who has her own burden to bear before an unexpected discovery.

Alexander’s clash with Sir William Ashbrook (Megan) heightened the tension after the opening scenes with Alexander and his friend, Thomas Ledbury (Tegan) at the chorister school. Tegan fully inhabited the character of Thomas, with his relative carefree nature, at least when compared with the pressure of aristocratic privilege that bore down on Alexander; Tegan delivered Ledbury’s line ‘it’s not very catchy’, in response to the choirmaster’s, Dr Smith’s, sarcastic asking if the chosen music was not catchy enough, with a beautiful sense of understated mischief. Emma was masterful in her portrayal of this rather stern, yet not unkindly teacher.

Megan played Otis Gardiner, and his reincarnation as Philip Gaddarn in Act Two, and conveyed, with chilling effect, his utter ruthlessness and lack of humanity. Otis is assisted by the housekeeper at the Ashbrook estate, Mrs Lynch, acted so well by Shehrezad. What impacted me so strongly was the lack of options for women as shown by Miss Price (Matilda) who, practically, had no other option but to give up her newborn to the unscrupulous Otis. This scene, with Miss Price’s pleading with Otis to take care of the baby, was heart wrenching, given the audience knew what Otis’s plans were. Lady Ashbrook (played elegantly by Larissa), meanwhile, can only look on powerlessly while her husband smashes through his son’s dreams.

Corom Boy explores the uncomfortable juxtaposition between society’s respectable face and the darker currents that swirl beneath, shown clearly through the magistrate on the Ashbrook estate, Theodore Claymore. Claymore (Evie) embodied strongly this effort to maintain an outward respectability while, the audience suspects, hiding a dark secret of their own. This outward respectability was dramatized powerfully through the Ball scene with Choreography superbly arranged by Eleanor Bowyer. This scene showcased other Ashbrook family members such as Alexander’s sisters, Alice and Isobel (played by Poppy and Naeve respectively) and his brother, Edward (played by Maisie). There is also Mrs Milcote (Niamh), widowed and trying to make a match for her daughter. Part of the play’s tragedy is that these characters, wealthy though they are, nonetheless are as trapped as Miss Price, forced to give up her newborn child.

The second act of the play changed scene to London and the Coram Hospital. Here we see George Frideric Handel, played with a force of personality by May Ford, rehearsing the Coram childrens’ choir for a performance of his Messiah. The Coram orphans were played by Izabella, Rachel, Ivy and Charlotte; the light-hearted energy with which they played these roles poignantly contrasted with the fate of other children in this story. Olivia D as the matron of the Coram Hospital kept these children in order very effectively! Two of the orphans, Toby Gaddarn (Emily) and Aaron Dangerfield (Brooke) provided a striking and poignant contrast. Toby never finds his mother ‘over the sea’ and instead is cruelly abused by Otis, now under the alias Philip Gaddarn; Aaron, who is the love child of Melissa and Alexander, is reunited with his parents.

Coram Boy does not let us rest in the comforting simplicities of a ‘happy ending’; part of the play’s power lies in the loose threads that remain untied. Ironically, perhaps, some of the play’s strongest lines, with regards to society’s shortcomings (both the imagined society of the play and our own society) are given to Mrs Lynch. Lines pointing out that the measure of a society is ‘the way it treats its poorest citizens’ and the castigation of the wealthy Mr Ashbrook for ‘a sweeping mercy to those so far beneath you’ cast an awkward stage light on our own values.

The music was exquisite and had been rehearsed and led by our Director of Music, Joe Adams. Adrian Sutton’s score evoked the themes of the play so powerfully and many of the scenes provided exquisite choral singing from the whole company which gently allowed us to feel the pain that lies at the heart of this powerful play. We pay homage to the small stringed orchestra who played a large amount of music live behind the set and conducted through a live screen for the cast by Mr Adams. Amongst our professional musicians was Sarah who helped to provide a haunting underscore in the first Violin.

On the final night, Helen de Mattos paid tribute to the Sixth Form in managing and leading all of the departments within the production. Stage management, ably led by Tabitha provided an impressive number of speedy set changes by Poppy, Anya, Katie, Eva, Arabella and Erin. Lighting design was evocative and powerful by Bethan. Props had been beautifully made and organised by Ashlynn, Arilyn and David and weaved the action together with symbolism and meaning. The sound design too was designed and creatively led by Emma, with Isobel and Erin supporting to make sure all actors were cued in on mics. Costumes were sumptuous in rich silks and taffetas and held true to the period of 18^th Century England with thanks to Dr Jo Russell, Keren Butler and Zoe.

Finally, we are indebted to the Artistic Director Helen de Mattos and Assistant Director, Erik Anders, for bringing such a gift to the school which will provide lasting memories for us all in time to come. 

Dr James Quinell