A Class of Your Own ⭐⭐⭐⭐
A Class of Your Own playfully explores what sticks to you as you grow up, what you can shake off and what happens when we shine a light inside?
The direction by Nathan Curry was mostly good, although there were a few contradictory moments when it came to the entrances and exits from rooms. Apart from that, it used space really well, and it was always clear what the production was trying to convey. The pacing was excellent, keeping the story moving while letting the important moments land. The movement was interesting, though there were a few moments when I wasn’t entirely sure what it meant. Physical theatre can be a wonderful way to express what characters struggle to put into words, and it worked really well at times. At other times, I felt that the intention behind the movement could have been clearer.
Amanda Mascarenhas's set was really good. I particularly enjoyed how the whiteboards and storage spaces were used in interesting and unexpected ways. The grey floor flowing up into the back wall also created a lovely visual effect, although I did wish the two elements had been aligned properly. It is a relatively simple design, but it gives the performers plenty to work with and allows the space to transform without needing lots of scenery. The costumes were brilliant, particularly in the contrast between the first and second acts. I really enjoyed the hoodies with the red patches; they looked wonderful and helped convey the piece's message. The costumes become part of the storytelling, depicting the characters and how others perceive them. A clear visual shift between the two halves helps communicate how the characters’ experiences and feelings develop.
Gillian Tan's lighting was nice and simple. It let the story take centre stage while still giving us some really lovely lighting moments. The design knows when to keep things understated and when to create a more striking image, which works particularly well with the physical theatre. Guy Connelly's sound was okay, though I found the first voiceover in the first act a little quiet, making it hard to hear exactly what was being said. I did, however, enjoy the moments when the performance had an underscore. The music helped build the atmosphere and added an extra layer of meaning to some of the movement.
Gillian Tan's projections were strong and played an important role in establishing where we were in the story. At a few moments, the mapping appeared to cut off, and I think small adjustments could have helped. However, there were also some unexpected and absolutely lovely moments when the projections interacted with the cast. These moments worked brilliantly, making the technology feel like an active part of the storytelling rather than just a background image.
The writing is full of humour, but it never talks down to its young audience. The story is easy to follow without ever feeling simplistic, an important distinction when creating theatre for younger audiences. The writing has a real depth I didn’t expect, with layers of meaning that become clearer as the piece develops.
What I particularly liked was how the production explores the labels placed on young people and how those labels can affect how they see themselves. It doesn’t simply tell the audience what to think; instead, it lets us see the characters as complicated individuals with their own feelings, frustrations, and reasons for behaving the way they do.
The performances from Emily Eversden, Farrell Cox, Tobias Adetula and Zanni CT worked really well as a collective ensemble. They worked well together, with each performer adding to the world of the piece rather than trying to stand out at everyone else's expense.
Emily Eversden was particularly impressive, bringing emotional richness and complexity to the role. Rather than presenting the character as simply right or wrong, the performance shows the pressures and emotions behind her decisions. It gives the character a humanity that makes the more difficult moments seem much more real.
Zanni CT was just as compelling, with a layered and emotionally charged performance that really stood out. It struck a lovely balance between humour, frustration, and vulnerability, making the character feel like a real young person rather than an example of a wider issue. These are the moments when the production is strongest, because it trusts the performers to communicate emotion without overexplaining it.
What makes A Class of Your Own so effective is that it approaches a difficult subject with a great deal of care. School exclusion and the labels placed on young people are not easy topics to explore, especially for a younger audience, but the production finds humour and humanity without diminishing the seriousness of its message. However, the issues don’t take away from the ensemble's strength or the story's depth. Ultimately, A Class of Your Own is a thoughtful, funny and emotionally engaging piece of theatre. It has more depth than you might initially expect, and it treats its young audience with respect by trusting them to understand complicated feelings and situations. This reminds us that the labels we give people don’t tell us everything about who they are. And perhaps, sometimes, the most important thing we can do is look beyond the label and listen.
A Class of Your Own was part of Tangled Feet’s 2026 tour, with performances at Polka Theatre in Wimbledon on 3–4 October and The Hat Factory Arts Centre in Luton on 10 October. The show is aimed at children aged approximately 8–12 and blends physical theatre with video projection. The dates above have now passed, so check Tangled Feet’s official page for any future touring dates.
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