When Paul’s Boys Met Edward’s Boys

After several years’ gestation, the collaboration between St Paul’s Choristers and Edward’s Boys eventually happened! On June 25th and 26th respectively the two performances (at St Paul’s and the Sam Wanamaker Playhouse) played to packed houses. A moment(s) of history!  “It really was the most moving and delightful experience to be able to realise our vision of a joint enterprise – and the result was quite magnificent!” Michael Hampel Precentor, St Paul’s Cathedral   More photos of the production, as well as an extract from the DVD will be made available shortly
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Review: The Woman in the Moon

A 16th century Feminine Mystique…  From the perspective of a KES English teacher, watching Edward’s Boys plays is a revelation, not least because smaller pupils of my acquaintance have swapped their KES blazers for a Shottery blouse and skirt, but because they reveal just what real interpretation is about: performance. It strikes me that The Woman in the Moon is a text particularly suited to this purpose. At its core, it is of course an exploration of femininity and what it means to be a woman; these are undoubtedly questions young men at a boys’ school need to explore. But
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Review: The Woman in the Moon

Edward’s Boys, under the direction of Perry Mills, might well be said to be victims of their own success. Their series of productions of early modern plays designed for performance by juvenile troupes have consistently delighted audiences with their inventiveness and panache, while affording academics and theatre practitioners a range of insights into a largely neglected body of work. The success of each production, from The Dutch Courtesan at Shakespeare’s Globe in 2008 to Summer’s Last Will and Testament at the Sam Wanamaker theatre last year, have raised ever higher expectations with the passage of time, and the pressures upon
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The Woman in the Moon returns!

After playing in Stratford, Oxford, and London, Edward’s Boys return with another performance of The Woman in the Moon at the Playbox Theatre in Warwick at 7pm on Wednesday 28thMarch. Reviews on the play have ranged from ‘wig-tastic’ to simply one of ‘the most tremendous Early Modern productions in Stratford-upon-Avon’. If you missed it first time round, or want a second viewing, please click here for tickets.  
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Review: Summer’s Last Will and Testament

On 30th September 2017, forty-two boys from the King Edward VI School in Stratford-upon-Avon filled the Great Hall at the Old Palace School in Croydon with colour, music and laughter. Directed by their English teacher, Perry Mills, they revived Thomas Nashe’s sole-authored play-cum-pageant in the same venue for which it was originally written and where it was first performed to entertain John Whitgift, Archbishop of Canterbury, in autumn 1592.  This extraordinary all-boy company, who have been staging plays from the repertory of early modern boys’ companies to great critical and popular acclaim since 2005, had already performed Nashe’s play at
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Review: The Marston Project

On behalf of the whole team of international scholars preparing the Complete Works of John Marston, I’d like to thank you for what turned out to be a fascinating, exciting and inspiring day. We academics have been working on these texts for two years, but this was the first time that most of us had had chance to encounter any of them in performance, and it was a great revelation to see the work that your students had done. It gave us a unique opportunity to ‘roadtest’ these rarely performed plays and we gained many insights into seeing how they worked: not least,
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Review: Roehampton

We recently ran a four-day conference on the first thirty years of theatre-making in this country, exploring the earliest London playhouses and their impact on literary and theatrical culture. Whilst we gathered together a range of scholarly approaches to this topic (archaeological, archival, literary and performance-focused), it was important to me to get real live performers into the conference and part of our conversation. We saw Dolphin’s Back perform a full production of John Lyly’s Woman in the Moon and explore non-theatrical archival material, and the Royal Shakespeare Company and the theatre-maker Emma Frankland each shared work-in-progress. Our delegates therefore
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