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.
The boys handled Lyly’s language with ease and panache. This is the first time I have seen Lyly performed by actors who are not distracted by their characters’ tendency for wordplay… Edward’s Boys delighted in the language their characters delighted in, allowing the wordplay to lead them as they spoke.
Edward’s Boys show us what boys’ companies can do — which is to say, anything. Their productions are not excellent ‘for children’ or ‘for amateurs’ – they are excellent by any standards. They draw energy from two vital sources: first, painstaking attention to the text, which enables each actor to understand his lines and communicate clearly with the audience; second, the ensemble ethos of the boys and their director, Perry Mills. Mills has created a culture in which the boys teach and learn from each other, releasing the exuberant will to perform in each one to great creative effect. Edward’s Boys audiences learn something about boys’ companies and early modern drama, but they also relish pure theatrical gold.
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.
Edward’s Boys must be the bravest company in the world of early modern theatre. They fearlessly take on dramatists who have been ignored by other theatre companies, demonstrating how much early modern creativity and excitement we all overlook. Their work is a peculiar fusion of scholarly breakthrough and theatrical joy: miss them if you dare!
You’re currently the world’s leading authorities on the performance of Middleton’s boys’ plays.
Edward’s Boys never fail to delight with their always lively and committed performances of plays by Shakespeare’s contemporaries. Avoiding theatrical archaeology, they nevertheless offer deeply suggestive insights into the practices of the all-boys’ companies that performed both comedies and tragedies – too often neglected by our professional theatre – by writers such as John Lyly, Thomas Middleton and John Marston.
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!
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.