Arriving at The Lowry means passing through MediaCity, walking alongside waterside studios stamped with names like BBC and ITV, where stories are packaged, edited, and broadcast out to the rest of the country.
It makes the setting for The Boy at the Back of the Class feel unexpectedly fitting. Inside the theatre, the story being told isn’t polished or filtered. It’s simple, direct, and uncomfortably close to real life – the kind of story that doesn’t need headlines or production value to land, just people willing to listen.
A powerful, timely story told with remarkable simplicity.
I noticed the audience was younger than usual, filled with families and children on school trips. I wasn’t too surprised, given it’s recently been recognised as Best Family Show at the 2026 Olivier Awards. But I did find myself thinking, as a childless adult, ‘What have I got myself in for?’ I was completely wrong.
At its core, the show follows Ahmet, a young refugee from Syria, joining a Year 5 class in the UK. But rather than approaching the subject with heaviness, it leans into the perspective of children – curious, honest, and often unintentionally revealing.
What unfolds is a story that feels disarmingly simple on the surface, yet quietly devastating in what it reflects. There’s a clarity in how it presents ideas of kindness, belonging, and safety. Rather than a lesson, or even just a lighthearted play, it feels like a mirror to society.Â
Cast and performances
Serkan Avlik’s beautiful portrayal of Ahmet sits at the emotional centre of the production. There is a moment, towards the end of Act 1, when Ahmet realises the audience can understand him. You can almost see the tension leave his body, replaced by a fleeting sense of relief that doesn’t quite settle.Â
Sasha Desouza-Willock brings a relentless energy to Alexa, capturing the chaotic, outspoken confidence of a nine-year-old so convincingly that you occasionally forget you’re watching a performance. There’s nothing forced about it, just a natural rhythm that keeps the story moving.
Jonny Warr as Tom provides much of the humour, grounding the show with well-timed comedy that never undercuts its more serious moments. Meanwhile, Max Jordan’s Brendan the Bully and the presence of authority figures like Mr Irons are handled carefully – never exaggerated, but recognisably real in a way that clearly resonated with the younger audience.
Writing, staging and simplicity
The staging is deliberately simple, and it’s the right choice. There’s no attempt to overwhelm the story with spectacle. Instead, everything is built around the writing.
In my opinion, the writing is where this production truly excels. It captures something very specific: the way children absorb and reflect the world around them. From the language and behaviours to the offhand comments adults make, it all feels lifted directly from real life. You’re constantly reminded that children are watching, listening, and learning, even in moments adults might consider insignificant.
There’s also a careful balance in how it introduces complex topics, such as war, displacement, and prejudice, without ever feeling didactic. It trusts the audience, regardless of age, to understand.
Audience reaction
What stood out almost as much as the performance itself was the reaction of the children in the audience. Most were primary school age, and they responded genuinely.
Moments of fourth-wall interaction sparked immediate engagement, but more telling were the quieter reactions you could hear around you. There were children openly calling out bad behaviour on stage to their parents or guardians, questioning characters’ actions, and reacting instinctively to injustice. It felt like watching the message land in real time.
It’s rare to see a show where the audience becomes part of the conversation so naturally.
Final thoughts
I left the theatre feeling unexpectedly moved – not in an overwhelming or theatrical way, but in a quieter, more reflective sense.
The message behind The Boy at the Back of the Class feels so timely that many adults would benefit from watching it. It presents kindness as a choice, and emphasises that everyone, no matter their background, deserves a chance to feel safe in the world.Â
The final moments underline this gently. While the story offers a sense of resolution, it doesn’t pretend everything is fixed. There are still people like Ahmet in the world, still stories unfolding beyond the stage.
And maybe that’s what stays with you most.
The Boy at the Back of the Class doesn’t try to solve anything. It simply asks you to pay attention and do better.
The Boy at the Back of the Class is running at the Lowry Theatre until 18 April. Book your tickets now.
Kelsey Haslam is the founding editor of Magenta Adventures Travel Publication and a freelance travel writer with a focus on community-based travel, culture-led experiences, and theatre tourism. She is passionate about spotlighting lesser-known destinations and connecting travellers with meaningful, human-centred stories.
Her published work includes destination features and luxury hotel reviews for leading travel outlets such as A Luxury Travel Blog, Beau Monde Traveler, and Luxury Lifestyle Magazine.
Explore more about Kelsey’s background on the About Page.
