SUTCo’s Dead Poet’s Society – 4 December 2025, University Drama Studio
Review by Polly Turner.
Last night SUTCo performed their version of Dead Poets Society to a packed house at the University Drama Studio.
Originally a film starring Robin Williams and set in a New England boys’ prep school, this version – written by Phoebe Cookson (who also directs) and Max Preston (who appears as Knox) – shifts the action to an English boys’ school in 1959, and in my opinion works all the better for it, as the switched setting gives the characters a relevance and resonance I never found in the original film.
The production is smoothly directed, with scenes which allow the narrative to flow and the gender-blind casting working seamlessly, the ensemble all gelling and bouncing off each other’s performance with energy,
Little touches like the two separate scenes up on the balcony with a radio and a birthday present, add a particularly effective touch of humour and tenderness, and the boys’ boisterous classroom behaviour shows their spirits still alive under the rigidity of school discipline. The simultaneous conversations in the group scenes also add life and realism. I would however have liked quieter or less background music in some of the scenes, to allow the cast’s words to be centred.
The on-stage furniture seemed on occasion a little difficult for the crew to move – one of the penalties of using ‘real’ furniture. But as the evening progressed this seemed to get smoother, so will probably cause fewer issues on subsequent nights. And the set showing the cave was perfectly positioned and lit, drawing the audience’s attention in to the Society’s world.
Of the main characters, Yugesh Kannan brings a likeable presence to the role of Keating, making him a reflection of everyone’s favourite down-with-the-kids young English teacher, without diminishing the hint of the ‘this is the way’ arrogance at the heart of his role, and Josa Lewis (Neil) as the seemingly-confident straight-A’s pupil who makes friends easily but has a bullying father and ineffectual mother is uncomfortably believable.
Will Dunn impresses as shy new boy Todd. He perfectly inhabits the character, his expressive face showing all the doubts and fears he starts out with when first taken under Neil’s wing, developing and maturing before our eyes until he finally has the confidence to take a stand and be a leader not a follower.
Roberto Rowinski, in the role of Charlie, shows considerable charisma as he epitomizes a figure from everyone’s schooldays – the natural rebel, shirt untucked, tie loose, who coasts through life but who proves to have an unexpected strength when taking the blame for his actions.
Max Preston wonderfully portrays Knox, the lovestruck boy in love with an ideal of beauty and the idea of love, who through Keating’s encouragement to the class to ‘seize the day’ decides to act on his emotions and declare himself to the object of his affections. And when Knox gets literally knocked back by a thuggish boyfriend and finds the confidence and sureness to continue his suit, we stop laughing and are all with him. For me this performance was the human heart of growing up.
Also I should mention Eddie Edwards-White as Mr McAllister, whose stiff regulation-following façade holds a human nature held in check to cope with the everyday grind of reality – a behaviour many in the profession will doubtless recognise.
As we left the theatre we were among a happy audience, many of whom went to wait outside the stage door to pass on their congratulations on a successful show, which deserves to get the same reception for the rest of its run. It was better than the film.
