Authentic schoolyard drama

IS life more dangerous and depressing in war-torn Somalia’s capital Mogadishu or in Britain’s inner cities?

The title of Vivienne Franzmann’s play may well be stretching a point, but the tragic story is frighteningly realistic. She has crafted a superb drama based on her 12 years’ experience as a secondary school teacher in London.

The favourable reaction to this drama, both from the audience packed with secondary school students and also my wife, a teacher of many years, confirmed the authenticity of the story set in an inner-city school.

The award-winning play, directed by Matthew Dunster, follows the story of a well-intentioned white teacher, who finds herself the victim when caught up in a schoolyard fight. While trying to protect a black student from exclusion, the tables are turned as he convinces his friends to spin a story of lies accusing her of racial assault.

Ryan Calais Cameron is outstanding as the aggressive black student Jason. From the opening scene his expression of Jason’s frustration and anger is entirely convincing.

Two themes of the play, racism and the pressures on school management, are highly relevant at the moment. And the latter is exploited well in scenes between the teacher, played by Jackie Clune, and the acting head, played by James Barriscale, who wants to help her but is trapped in the system.

In fact everyone is trapped. The stage (designed by Tom Scutt) is surrounded by a cage giving a strong impression of imprisonment.

The tragic suicide of his mother haunts Jason and the teacher’s daughter Becky, superbly played by Rosie Wyatt, is similarly tortured because her father killed himself. An angry scene between the two of them is compelling theatre.

But there is humour amongst all the angst. It turns out Becky’s father hanged himself with the Homer Simpson tie she gave him for Christmas.

There are many laughs from the supporting actors too, particularly Hammed Animashaun as the joker Jordon and the simpleton Chuggs, played by Tendayi Jembere. On the serious side, Michael Karim does well as the studious Firat, a victimised Turkish boy.

The young actors help to make this a dynamic production with their ripe language and aggressive behaviour.

Verdict: Gripping drama

Peter Gawthorpe