Edward’s Boys are a firm fixture on the map of the English theatrical scene—and they have also changed the map of how we think about early modern theatre (not just boys’ company plays). The boys – of all ages – are simultaneously innocent and knowing in performance, keeping city comedy teetering on the brink of send-up and making revenge tragedy able to confront its own excess.
Edward’s Boys are a revelation. Anyone who is interested in early modern plays in performance ought to see them. In terms of physicality, proxemics and embodiment, they open up new theatrical horizons for even the most experienced twenty first century theatre goer; they challenge complacency about theatrical norms; they are also extremely entertaining.
You’re currently the world’s leading authorities on the performance of Middleton’s boys’ plays.
Edward’s Boys’ revivals of plays by the likes of Lyly, Middleton and Marston have informed and transformed my thinking about early modern drama and children’s company plays in particular. No modern revivals can give us concrete answers to our questions about the plays or their performance style, but over the last few years Perry MIlls’ lucid and imaginative productions have asked the very best kinds of questions.
Your work is the most sustained attempt to re-imagine what we think boy companies could do – and it will really rewrite the academic theatre history books.
Those who were privileged to see the little eyases of KES playing The Dutch Courtesan will really understand what Shakespeare was talking about: the common stagers in the Courtyard behind the new science block have good cause to be rattled.
More than any other theatre company, including the best of the professionals, Edward’s Boys are in the vanguard of exploring the theatrical style of Thomas Middleton and other contemporaries of Shakespeare… They are clearly leading the way in the exploration of early modern plays using an all-boys cast. Those of us privileged to see these productions are learning about a key aspect of the production of plays in Shakespeare’s period. We are also seeing excellent productions of plays that are insufficiently performed, and, above all, enjoying some memorable evenings in the theatre.
Wacky, subversive and often very rude (and that’s just the director), the boy players at K.E.S. always come up with insightful and thrilling solutions to often difficult and challenging texts. For the cast the rehearsals are intellectually stimulating and huge fun, for the audience the productions are even more so! And no parent should be deprived of at least one opportunity to see their son being serious in a nice frock… Long may they continue!
They are our modern day “Little Eyases” as the companies of boy performers were referred to in Hamlet. But in fact the exercise is much more than that, and should I think be seen, as it deserves to be, in the wider context of Shakespeare study and performance worldwide…for me as a Shakespeare director, with particular interest in the repertoire of these contemporaries, these productions have proved invaluable… Forgive me for going on at length, but I think the school is producing something rather miraculous, and I suspect it is too easy for that to go unsaid. So I am saying it.
Perry Mills and his boys are fast becoming the stuff of legend. A cut above your average drama society, Edward’s Boys are currently ploughing their way through the dramatic canon of the early modern childrens’ companies… we were given a consummately professional and finely-realised production of a very rarely-performed play. It’ll be fascinating to see where the boys take us next.