Anyone interested in early modern theatre should see an Edward’s Boys’ production. Their exploration of the repertory written for the Boys’ Companies may not be for the faint-hearted. The closed-minded will side with the anti-theatrical pamphleteers and declare that disguise is indeed a wickedness. The open-hearted will relish their performances as a revelation.
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.
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.
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 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.
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!
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.
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 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.