Coram Boy, adapted by Helen Edmundson from Jamila Gavin’s award-winning novel, is a powerful and emotionally charged play that immerses audiences in a harrowing yet hopeful tale. Set in 18th-century England, the story delves into the grim realities faced by abandoned children and their struggle for survival amidst a backdrop of societal cruelty and individual redemption. It follows the intertwined lives of Alexander, a disowned nobleman’s son- passionate about music- and Toby, a runaway escaping a sinister child trafficker. Against the backdrop of the real-life Coram Hospital, which cares for abandoned children. With themes of exploitation, love, and the search for identity, the narrative presents a stark yet poignant commentary on human nature, resilience and the power of music.

The ensemble cast delivers an outstanding array of performances, with most portraying multiple roles with depth and authenticity. Louisa Binder’s note-perfect turn as Young Alexander Ashbrook bore stark contrast to her second act outing as Aaron Dangerfield. So well executed are her performances that it wasn’t until the curtain call that I realised they were being played by the same person. Aled Gomer’s vulnerable and emotive Meshak resonates a heart-wrenching purity that infiltrates the darker moments of the piece- a reminder of the faint light of hope that can shine through even the most devasting circumstances. A vibrant turn from Rebecca Hayes as Young Thomas Ledbury cuts through the darkness to provide some much-needed comic relief and often had the audience giggling.

Anna Ledwich’s direction is both innovative and sensitive, ensuring that the complex narrative is accessible without losing its emotional impact. The use of music, particularly the choral arrangements (with direction from Stephen Higgins), adds a hauntingly beautiful layer to the production, underpinning the overall atmosphere throughout. Set Design by Simon Higlett is meticulously crafted, with seamless transitions that maintain the play’s momentum and keep the audience engaged. Dark and rigid, it effectively evokes the gritty, oppressive environment of 18th-century England, while also providing moments of stark beauty.  For the most part, stage-hands are dressed in period costume so as to blend in- however, this wasn’t always the case, causing the audience to be momentarily removed from piece during the otherwise slick manoeuvres.

Lighting and sound design (by Emma Chapman and Max Pappenheim, respectively) work in harmony to underscore the emotional highs and lows of the story, creating an immersive experience that lingers long after the final curtain call. Upon entering the theatre, the candle lit set stands stoically on the stage, creating the perfect sense of what is to come. Costume Supervisor, Poppy Hall’s beautifully lavish period attire reverberates against the ink black backdrop- a feast for the eyes.

Coram Boy is a masterful blend of historical drama and human interest, presenting a narrative that is as thought-provoking as it is moving. While the play does not shy away from depicting the harsh realities of its time, it ultimately offers a message of hope and the enduring power of compassion. This production is a testament to the strength of storytelling in theatre, making it a must-see for those who appreciate rich, layered narratives and exceptional performances. The second act may feel slightly underdeveloped when stacked up against the rich tapestry of act one, and its climax may feel the tiniest bit underwhelming, but, nonetheless, this is indulgent, high-quality theatre that deserves to be seen. 

Coram Boy runs at The Lowry until Saturday 29th June. Further information and booking can be found here.

Gifted in exchange for an honest review.

Photography by Manuel Harlan.