In the midst of a raging war, a group of British school children are left stranded after surviving a devastating plane crash. The world is in chaos, and they are left to fend for themselves.
I had mixed feelings when asked to review Lord of the Flies at Leeds Playhouse. I remember reading the book as a teenager, feeling that the book’s view of both human nature and children was warped. This warping may well be the result of William Golding’s experience of World War II and working as a grammar school teacher, in an era of both horror and strong societal expectations. The story felt dated to me back in the 1970s. On the other hand, I was interested to see how Director Amy Leach’s production of Nigel Williams’ adaptation would renew the tale.
The first, and perhaps most significant, difference was the diversity of children, from a variety of schools, genders, ethnicities and abilities, providing a cross-section of society. In Golding’s original the children were all boys from a private school. This immediately raises issues of class and power in society and education.
The costume department set the scene with individuals landing on the island dressed in private school chorister surplices, different levels of complexity of school uniform or, in the case of Piggy, a woolly jumper. Dress is important in this production, the deterioration of clothing accompanying the breakdown of social rules.
Jack, the private school choir leader played by Patrick Dineen, oozes a sense of privileged entitlement. He is egged on by the Iago-like Roger, played by Jason Battersby, whose character never declares his own school or social standing. A side swipe perhaps at the advisers hiding behind today’s politicians.
The power struggle between Jack and Ralph, played by Leeds actor Sade Malone, may be framed around Golding’s promotion of societal rules, but modern undercurrents around power and inclusion are never far from the surface. Ralph is sometimes seduced by excitement and popularism but she returns to partially sighted Piggy and to care for young Perceval.
Piggy, played by Jason Connor, is a stronger character than in the book or film versions. He knows his own mind and has a practical approach to life. His northern expressions are mocked by Jack but provided a connection for the Yorkshire audience. A few comedic comments, at the expense of Jack, were reminiscent of Peter Kay. He knows he will never be popular but gives down to earth counsel to Ralph. The inclusion of a younger child in Percival, John Carter, reminds the audience of the innocence of childhood.
Communication takes place on many levels in this production. Leeds Playhouse and Amy Leach have a track record of including disabled artists. Partially sighted, deaf and neurodiverse actors are integral to this staging.
Eric, Ciaran O’Breen, and Sam, Eloise Pennycott, communicate with each other, and the rest of the cast, through BSL. Sam uses verbal language alongside sign language while Eric relies upon BSL.
Last year’s production of Macbeth was notable for including a deaf actor but here there is a sense that you are made part of a deaf community. Sam and Eric have scenes where they appear alone on stage. Their vocalisation of fear, without speech, when left alone on the mountain is impactful.
Designing a stage set for a desert island, with a mountain in the middle of it, was never going to be easy. Set and costume designer Max Johns brings a pared back, largely monochrome, island that has the flexibility for actors to move up, down and around without the need for scene changes. We never see the bright sunshine that impresses Ralph on her arrival. We do see the island become grubbier and bloodier as the play progresses.
Simon, a neurodiverse private school chorister, finds comradeship with Ralph and Piggy. Actor Adam Fenton received an Evening Standard Future Theatre Fund Award earlier this month in recognition of his groundbreaking writing and acting. He initially tried to hide his Tourette tics but now incorporates them into his performance.
The production has a long first act – eighty minutes – and short second act of thirty-five minutes. It’s a good idea to visit the conveniences before taking your seat but the long first act does not drag. Violence is an integral part of the story and it is fitting that the break happens once this has come to a head. The interval allows the audience to gather their breath, and the costumes to deteriorate further.
Leach’s productions are known for their energy and dynamism. There is much running around as befits a group of children. However, gravitas is given to moments of real violence through slow motion choreography, whilst Jack’s mania is embodied in his tendency to jump around the stage.
A few school groups were in the theatre on Press Night and more have booked. The staging of Macbeth last year and Mice and Men later this season, alongside Lord of the Flies, is indicative of the Playhouse’s commitment to revitalising classic school texts. Part of me is disappointed that teenagers are still studying the texts I did, given the wealth of literature that has been written since. If they are asked to study Golding I hope they will watch this staging.
What I hope they will not take from reading Lord of the Flies is that human nature is destructive or that young people are not capable of working collaboratively without imposed rules or adult supervision. In 1965, six boys aged from 13 to 16, from a Tongan boarding school, became stranded on uninhabited Ata Island. They worked cooperatively to find food, drink and care for the sick. When rescued by a passing ship, fifteen months later, they were all in good health.
Having said that, young people today live with tensions suggested by Lord of the Flies. The possibility of nuclear destruction, issues around who and what to trust. When at the end a naval officer asks ‘You are all British aren’t you?’ the question no longer conveys Golding’s intention of re-establishing social codes, instead raising questions of identity and belonging to the multi-cultural audience and cast.
Lord of the Flies
A Leeds Playhouse and Belgrade Theatre Coventry co-production presented in association with Rose Theatre.
At Leeds Playhouse until 8th April then on tour.
Cover photograph Ciaran O’Breen (Eric), Eloise Pennycott (Sam), Sade Malone (Ralph) in Lord of The Flies.
All photography by Anthony Robling.
