Jack Studio Theatre – until 19 May
Reviewed by Claire Roderick
5*****
Barry Hines’ book A Kestrel for a Knave, and Ken Loach’s film of the book Kes, have a special place in British culture. Even the inclusion of the book in the English curriculum hasn’t stopped the love for this story of a down-trodden young boy finding hope, purpose and love from raising and training a kestrel. Robert Alan Evans’ stage adaptation, with a cast of only two, manages to blend the very best aspects of the novel and the film, and in director Kate Bannister’s expert hands, this play is a mini-masterpiece. Although still raw and real, Bannister brings a softer touch to the story without shying away from the nonchalant cruelty of the characters.
I was a little worried that my opinions may have been coloured by my attachment to the book and the film, but my friend from New Zealand, who had never heard of Kes (and whose comment “It’s a play about training a kestrel? Riiiiiiiiight…” summed up her attitude before we entered the theatre) sat riveted throughout and turned to me with a gasp and tears in her eyes as she realised what was going to happen to poor Kes.
The play starts with a man (Rob Pomfret) bouncing violently around memories and places from his youth, before Billy Kasper (Simon Stallard) is seen, cradling the fledgling Kes. Billy’s life in the Northern mining town is full of hardship and violence, from being punched by his older half-brother Jud as he wakes up each morning to the bullying from boys and staff at school. With his single mum letting what little money she has run through her fingers and cadging Billy’s wages from his paper round, and Jud only interested in him when he needs a bet put on, Billy’s life develops meaning as he learns how to train Kes.
Karl Swinyard’s set is beautifully evocative, with the Caspers’ kitchen probably reminding everyone in the audience of their gran’s home and a few lockers and slammable desk bringing back the horror of school. Ben Jacobs’ lighting design provides a sense of movement and time, and the luscious, nostalgic tones when Billy is with his lure and Kes are straight out of the Hovis ads. Kes is never seen, but Jack Barton’s sound design has the audience ducking at times as the sound of spinning lures and flapping wings soar around the theatre.
Simon Stallard is phenomenal as Billy, personifying the perpetual victim, head down, trying not to be noticed, and effortlessly becoming a beacon of energy as he captures the joy and potential within the boy as he revels in his freedom, trust and responsibility with Kes. Rob Pomfret gives an astonishing performance as the protagonists in Billy’s story. He transforms into Billy’s mum, Jud, and schoolteachers with consummate ease, using different jackets to signal each character, although he honestly didn’t need them as each character was so clear in their identity and mannerisms. As the older Billy, he will melt the hardest of hearts as he tries to stop his younger self making the same mistakes and describing their devastating consequences. I could watch these two actors all day – a pair of simply brilliant performances.
Get a ticket while you can. You’re in for a treat – Kes is a lovingly crafted production that is hard-hitting, hopeful and will make your heart soar.