The Boy with Wings at Birmingham Rep Review

Written by Katie H for Theatre & Tonic

Disclaimer: Gifted tickets in exchange for an honest review

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The Boy With Wings, based on Birmingham’s own Sir Lenny Henry’s book of the same name, takes flight at The REP in a lively, funny and heartfelt stage adaptation written by Arvin Ethan David and directed by Daniel Bailey. Originally developed at Polka Theatre, this production fuses music and a story full of imagination, and judging by the response in the auditorium, it connects strongly with young audiences.

The plot follows 12-year-old Tunde, a boy navigating bullies, night terrors and conflicting messages from his adoptive Ma. All he really wants is the freedom to do parkour with his friends, but when a late-night adventure goes wrong, he suddenly sprouts a set of giant wings. From there, the story takes off into a fast-paced intergalactic adventure featuring talking birds, a rhyme-spitting alien cat, and the revelation that Tunde’s absent father is in fact a powerful warrior from another planet.

Stylistically, the show has a strong, urban edge, pitched perfectly for a younger audience. It feels modern, relevant and accessible without ever talking down to the kids in the crowd. A couple of playful references (like the nod to Spider-Man’s ‘What’s Up Danger’) are smart touches to get the audience firmly on side.

This production could almost be called a musical, with a range of songs woven throughout. Rap dominates the score, but there are also smooth, jazzy vocals courtesy of Juba the cat and some tender ballads. It’s eclectic, but it works, and the music gives the show its pulse.

Representation is at the heart of this production, and it’s doing far more than simply entertaining children. The cast reflects the diversity of the audience it attracts, and it was refreshing to see a wheelchair-using character included without any need for explanation. She simply belonged – and of course, she was the one leading the others on a parkour run. Because why wouldn’t she?

I loved that the story spotlighted parkour - an artform rarely explored in mainstream theatre. From what I understand, this was a shift from the book, which focused on sport more generally. That said, the parkour itself felt like a slightly missed opportunity. While the cast made clever use of the set for climbing and jumping, and the group’s chant, “run fast, jump high, promise that you won’t die”, perfectly captured the spirit of it, the sequences never quite delivered the full adrenaline rush the line promises. At times, the reliance on video actually made the action feel smaller. Of course, it’s a tall order to find a cast who can act, sing AND perform parkour at a high level, but if achieved, it could have elevated the show to the next level.

The cast we had, however, brought real energy and commitment. Adiel Boboye (in his debut stage performance) captured both the awkwardness and determination of 12-year-old Tunde, holding the stage with confidence. Samir Mahat, as best friend Dev, radiated charisma, while Millie Elkins-Green brought a sweetness to Kylie with just enough “don’t mess with me” bite. Jess Murrain gave Juba the cat both elegance and humour, blending balletic movement with playful rhyming, while Stephan Boyce offered a stern but dryly witty father opposite her. And I particularly loved Mia Jerome as Ruth. Her sincerity as Tunde’s adoptive Ma was clear, but always underpinned by the sharp pragmatism of a scientist.

Laura McEwan’s set design deserves a special mention: fragmented, jagged and urban, it doubled as a parkour playground while also being fully accessible, with ramps seamlessly integrated into the design, and I loved it. Accessibility never felt like an afterthought, but an exciting part of the world. Add to that some delightful puppetry with the chorus of talking birds, and the stage always felt alive.

Not everything landed though. The ending itself felt abrupt, skimming over what should have been the climactic moment of conflict. Instead of the high-stakes showdown we were waiting for, it fizzled out and left a noticeable gap, and I for one felt a bit cheated as an audience member that all I got was a blackout. 

Still, The Boy With Wings remains a charming, energetic show that celebrates diversity, imagination and bravery. It has a couple of rough edges and moments that could soar higher, but both children and adults in the audience were clearly captivated - and it certainly does Sir Lenny Henry proud. Running at The REP until 30th August, with a range of performance times to suit all ages, it’s the perfect adventure to keep your little ones entertained in the final week of summer: fun, imaginative and full of heart.

★ ★ ★ ★