THE BOY WITH WINGS

Polka Theatre

★★★

“promises to enchant a new generation with the art of live theatre”

The Boy with Wings, a new co-production between Polka Theatre and Birmingham Rep, and based on the book by Sir Lenny Henry, is a visually stunning show perfectly packaged for younger viewers with lots of heart and some important life lessons.

Adapted for the stage by Arvind Ethan David, we follow Tunde (Adiel Boboye), a twelve-year-old boy who lives with his mum, as he pursues his dream of reuniting with his absent father. Assisted by his newly acquired best friends Kylie (Millie Elkins-Green) and Dev (Samir Mahat), Tunde soon receives a shock when he magically sprouts wings and begins to fly. Thus begins a series of events that throw the gang straight into a war that is raging between two alien races: the talking cats and the bird folk. There’s twists and turns enough to keep the children in the audience on the edge of their seats, and the show becomes a cheerful example of the futile nature of war.

This is, at its heart, a story about finding peace and commonality in starkly opposing characters; as leader of the cats, Juba (Jessica Murrain), reminds us: ‘The reasons for war can often seem many, but when it comes down to it there aren’t any’. The message a strong one, as is that of the importance of unconditional support in friendships. One only wishes someone would’ve also reassured Tunde that it’s really okay for a young boy to cry over his estranged father.

The cast overall bring dynamic performances to this quirky children’s tale. Mahat brings an infectious vigour to his role which is neatly contrasted with Elkins-Green’s suitably wiser-than-her-years, sarcastic tones. Boboye as Tunde is sweet and hopeful, while Mia Jerome as his mother, Ruth, brings delightful life to her moments of heavy exposition.

The costumes (Laura McEwen) and lighting design (Gillian Tan) are bright, beautiful and perfect for little eyes; the grand, sweeping wings of Tunde and his father are a particularly world-transporting highlight. The set design (also McEwen) is truly outstanding; it balances gorgeous imagery with diverse practical use and allows us to witness some perky parkour, dramatic character reveals, and even includes a plethora of wheelchair accessible ramps which Elkins-Green makes good use of, spinning around the stage with utter confidence.

While not branded as a musical per se, this production is let down by its songs (Arvind Ethan David and Khalil Madovi). Though the rap elements are electric and engaging – Stephan Boyce as Aaven especially brings a certain energy and humour that is hard to escape – the songs feel superfluous. The show fails to justify the need for the sung content and these moments never pack any sort of punch; whether this is from poor writing, the actors looking rather uncomfortable to be singing or a mix of both, it’s hard to tell. That said, the joyous audience participation in the finale song is enough to forgive its irrelevance to the show’s structure, and indeed the children in the audience are far more enjoying singing along than debating the merits of prose versus song.

Directed by Daniel Bailey, this show is a strong offering to the landscape of children’s theatre. It does an admirable job of squeezing the excitement of the original story onto a relatively small stage, but one can’t help but feel like the sparkle of the book doesn’t quite shine all the way through. Despite a couple of small timing and diction issues, The Boy with Wings is a joyful experience to watch and an easily accessible show for any child. Blending strong performances with heartfelt content, this show promises to enchant a new generation with the art of live theatre.

THE BOY WITH WINGS

Polka Theatre

Reviewed on 28th June 2025

by Kathryn McQueen

Photography by Jake Bush and Adela Ursachi

June’s five star shows:

FIDDLER ON THE ROOF | ★★★★★ | BARBICAN | June 2025

LAGUNA BAY | ★★★★★ | CHISWICK HOUSE & GARDENS | June 2025

INSIDE GIOVANNI’S ROOM | ★★★★★ | SADLER’S WELLS EAST | June 2025

KIERAN HODGSON: VOICE OF AMERICA | ★★★★★ | SOHO THEATRE | June 2025

THE BOY WITH WINGS

★★★★

“Hytner’s direction moves the action at a pace yet there is still time for reflection, and moments of humour too”

‘The Life and Death of King Richard II’, later shortened to “Richard II” is categorised as one of Shakespeare’s History Plays. Even though another early title reads ‘The Tragedie of King Richard the Second’. Tragedy or history, though, it bursts onto the stage as a modern-day thriller with Nicholas Hytner’s stirring interpretation. The story of a man whose symbol of power is of more concern to him than his duties has a chilling resonance today. Jonathan Bailey’s unpredictable ruler, however, is an eccentric soul, with a degree of vulnerability that draws our sympathy (so any comparisons to a contemporary world leader that might spring to mind are soon quashed).

Probably best known for his role in ‘Bridgerton’, Bailey returns to his theatrical roots, stepping into the role that follows some pretty impressive footsteps; John Gielgud, Paul Schofield, Ian McKellen, Timothy West, Derek Jacobi, Fiona Shaw, Eddie Redmayne, Mark Rylance, Ben Wishaw, Simon Russel Beale, David Tennant… Many a fine pair of shoes to fill, but Bailey slips into the role with ease.

Chronicling the monarch’s downfall, and the intrigues of his nobles – most notably Henry Bullingbrook (later King Henry IV) – the play spans the last two years of Richard’s life. The set is sparse, stark and by default unsettling and menacing – with the unpredictable air of a disused warehouse. We seem to be in a Netflix gangster land. Grant Olding’s sweeping music score sets the scenes, aided by Bruno Poet’s atmospheric lighting. Chandeliers dangle while minimal set pieces rise from the depths, around which men in black lead the dance with a swagger that ultimately trips and falls into tragedy, mourning and a kind of forgiveness.

Hytner’s direction moves the action at a pace yet there is still time for reflection, and moments of humour too. An overuse of dry ice hammers home the film-noir flavour, but otherwise everything is perfectly balanced. Violence gives way to psychological intrigue while the battlefields migrate into the courtroom. Bailey’s performance is undoubtedly the shining light, yet he casts no shadow over the supporting cast who all command the stage in their own way. Royce Pierreson’s Bullingbrook is a tour de force as he struggles to reconcile his need to usurp the throne with his reluctant empathy for a failing king. The first act ends with the two pitching against each other, Bullingbrook armed with a massive cannon while Richard watches from the gallery, dressed in white. The second act ends incredibly poignantly as Bullingbrook gains little comfort from his victory while Richard’s body lies on a hospital gurney, now in black.

In a play where ally can become traitor, and vice versa, at the drop of a hat, the entire cast showers clarity onto Shakespeare’s verse, coupled with powerful emotion. Martin Carroll, who has stepped into the role, gives a wonderful poignancy to John of Gaunt who is desperate for his dying words not to be spoken in vain. But in true Shakespearian fashion, little can be done to halt the wheels of tragedy’s course. And the beauty of the staging leads to us, the audience, being made to feel somehow complicit in the action. Almost traitorous ourselves. It is an enthralling production that closes with an emotional power. A quiet, yet poignant punch, that leaves us quite breathless.

Tag Archives: Stephan Boyce

THE BOY WITH WINGS

★★★

Polka Theatre

THE BOY WITH WINGS

Polka Theatre

★★★

“promises to enchant a new generation with the art of live theatre”