Students shine on and off stage

Students from all year groups shone both on and off the stage at our annual House Drama Competition, with all year groups taking part and productions produced and directed by sixth form students. Read TERRY FELL's review and see our photo gallery, below

The 2024 House Drama winner was won, for the fourth year running, by De Grey House (pictured above). Bravo!

Best Male Actor: Joseph Lee (Hutton)

Best Female Actor - Katy Stapley-Hinton (Hutton)

Joseph and Katy

Judges' Discretionary Award - Ava Reeves (De Grey), for superb delivery of monologues

Ava

De Grey – ‘DNA’

AND so to something entirely different. This short play by Dennis Kelly is dark; very dark. It has more than a hint of Golding’s Lord of the Flies to it, and explores the reaction of a group of disparate teenagers to the accidental killing of one of their friends in an incident in the woods. It is a bleak and challenging piece, and definitely not one for those who love a happy ending, but it offers real scope for dramatic performance, and the De Grey directors, Holly Maisey, Alex Sanderson, Paddy Burnham and Leo Cavell-Taylor, showed both immense ambition, and exquisite skill in their treatment of this text, elevating the performances of a largely very experienced cast to entirely new levels.

The action opened with a chilling scream and the entrance of a clearly distressed and barely coherent Mark (played by the outstanding George Dalkiran) from the back of the Hall to meet an equally horrified Jan (the immensely engaging Savannah Lewis). Their conversation, riddled with disbelief and broken by repetition that “he’s dead” set up a powerful mood of panic and fear, reinforced as other members of the group learnt the same news. An eerily similar conversation in school between friends Jen (Lily Abrahams), Daisy (Ella Fisk) and Lou (Nekha Abraham) reinforced the knowledge that something “really bad” had taken place, which was testing each of them to the limit. Lou’s acerbic statement of fact counterpointed beautifully with Lily’s ferocious assertion of control and that this thing is manageable – she just doesn’t know how yet. A poignant humour was neatly achieved through Daisy’s horror that her plan for her future in dentistry was going to be derailed by dead people in her life now. Elsewhere, two very experienced De Grey actors demonstrated utterly superb performance skills in overcoming very different challenges. Leah (Ava Reeves) is a character who deals with pressure by talking – endlessly. The series of monologues that Ava delivered to an unresponsive Phil thoroughly taxed both her acting memory and her performance range to the core. Both were faultless, and the evolving mood and emotional breakdown of the character were beautifully depicted. Phil, (played with forensic intensity by Nancy Manners) on the other hand says very little throughout the play, spending great tracts of time staring blankly into space, or focusing utterly on the can or the waffle in his hands. This absence is broken occasionally by moments of sudden life where he asserts an irresistible control over his peers, directing them with laser-like clarity to the route that is somehow fated to lead to tragedy. The character is absolutely central at any given moment, silently impassive or actively threatening, and Nancy’s focus and concentration in achieving such total dominance of the stage and the plot was just immense.

In a production where ensemble performances were so central, the directors deserve huge recognition for the exceptionally tightly blocked and drilled choreography, even to the extent where little moments like the characters bumping into one another were effortlessly convincing. And then performers deserve equal praise: House Drama debutantes James McGrath (Richard) and Nyva Abraham (Cathy) showed wonderful presence, whilst Matilda Jarman was terrific as Katie. Sam Stead is an exceptional actor with enviable and innate comedic skill, and his portrayal of the hapless Brian was hilarious and heartbreaking in equal measure. Noah Coghlan is another actor who demonstrated great skill and talent in his performance as the terribly damaged Adam, delivering a simply gut-wrenching performance.

To support these superb acting performances, a beautifully deep and dark forest set was skillfully accomplished with painted flats, and drifts of leaves, logs and twigs within the dark curtain box. Designers Olivia Keilloh, Maisie Lamb, Tess Randjiou and Annabel Grant deserve great credit for their work.

The lighting likewise showed complete attention to detail, closing in with spots or dimming at times, flickering between colours, and shading in intensity to develop moments of claustrophobic tension, such as the harrowing retelling of the ‘death’ by Mark, or the discovery of Brian still alive.

Make no mistake, this brooding, chilling, psychotic beast of a production was a work of exceptional skill and meticulous attention to detail in every department. Indeed one could say that this pursuit of excellence appears, for now, to be embedded in De Grey’s DNA. 

Hutton – ‘Legally Blonde’

IN a year when stage adaptations of blockbuster films were in vogue, Hutton led off this year’s competition with their vision of Luketic’s iconic ‘Legally Blonde’, and this was very, very cool!

A large and predominantly young cast were extremely well drilled in their roles, acting with an enthusiasm and energy that brought the show to life in brilliant form, and the adaptation itself was crisp and zingy, cracking through the plot with a purposeful and clear retelling of the story that reinvigorated it for a new audience. The directors, Helena McMurray, Connie Baldini and Pippa Bland deserve huge credit both for their sheer vision, and for their excellent casting and management of their cast.

Of course the show centres on one particular character, the irrepressible Elle Wood, (originally played by Reece Witherspoon in the movie), and in Katy Stapley-Hinton Hutton were fortunate to have an actor whose presence, charisma and command of the stage lit up this role. Her performance was superb, and she demonstrated the development and appreciation of the character that are so crucial to the audience’s sympathetic response to her. This central performance allowed the characters around her to shine too, and this show had countless little partnerships and moments that showcased a very bright future for Hutton drama in the future. Elle’s self-centred fiancé Warner was played with suavely smooth assurance by Nicholas White, whilst the ‘other woman’ in their relationship, Vivian, was well acted by Keziah Jayan, whose change in perspective on Elle was very nicely portrayed through their quietly transformational conversation. The sleazy Professor Callahan was cleverly acted by Caytlyn Briggs to ensure an age appropriate portrayal whilst leaving no doubt as to the predatory nature of this powerful lawyer, whilst Joseph Lee delivered an engaging and enjoyable performance as Elle’s ally and eventual mentor, Emmett. Isla De Wit was tough and sassy as the accused (Brooke Windham), whilst Deepika Joji beautifully overplayed the part of her murderous stepdaughter, Chutney. The ensemble of prospective lawyers, Ava Crabtree, Bella Kirby and Elodie Rennie-Oxley brought humour and sparkle to the lecture scenes, whilst tough law teacher Professor Stromwell was compellingly depicted by Anna Thody, and Jessica Glew’s Judge was brilliantly determined to keep order in her court, despite the struggle to see over her lectern. Other notable partnerships were Elle’s best friends, Anais Writer and Francesca Kirkman, and the Oxford admissions panel (Phil Thody, Katie Watson, Matilda Linegar and Thomasin Noake.) One final wonderful cameo moment that deserves mention was the subtly brilliant knowing Hispanic shrug by Helena’s pool boy Enrique as he approached the stand. This was a cast who loved their production, and knew well their part in it.

The set, meanwhile, was cleverly designed so as to enable this sizeable cast, rather than to restrict them. Primary use of the black box of set curtains allowed smaller furniture, such as a fashion clothes rail, a lecturer’s whiteboard or a scarlet-clothed restaurant table to be whisked on and off by a very impressive stage crew to suggest the different settings, whilst the costumes were bright and vibrant, adding to the energy that so characterised this production. The mid-tabs were also extremely well used in this production, flying open to bring a new scene to life, or closing off a completed scene so that there was minimum need for blackout and pause to break the tempo, and the use of the stage itself was similarly enterprising and resourceful, with the directors finding ways to place particular scenes so as to allow the crew to set up the next. Impressive too was the use of sound and lighting, which played their part in bringing a sense of joyous exuberance throughout. The sudden colourful spotlighting of Elle as she detailed her suitability for an Oxford Law course, or the comic use of the hyperbolic Tah Dah DAAAAH! notes to emphasise her shocked realisation were extremely effective and enormous fun.

This was a super-slick, riotously enjoyable and extremely well crafted production, which entertained admirably whilst simultaneously tackling serious themes such as the folly of judging purely by appearance, the iniquity of exploitation of the vulnerable, and the power of friendship. It was a memorable production, and one, which thoroughly deserves the huge applause it received on the night. Well done Hutton – so good!

School – ‘The Truman Show’

THIS was ambitious! To take an iconic movie of the nature and scale of the Truman Show, and to attempt to bring it to stage is a remarkable task, and directors Francesca Faulks, Rosa Jones and Tess Holloway deserve immense praise for the resourceful and sympathetic way in which the story was adapted, and for how their young cast rose to the challenges of this pacy and technically demanding script. The show was in turn intense, challenging, hilarious, witty, sinister and deeply poignant, and such a huge range speaks to a very skillful adaptation and direction.

The eponymous hero of the show (or should that be the show within the show?) was played with characteristic verve and skill by William Keens, and in portraying the increasingly restless and suspicious Truman, haunted by a past that he feels has somehow been snatched away from him, and a future that seems beyond his control, William produced a performance that is unquestionably amongst his best to date. His incredible physical performance is matched by his remarkable vocal skills, and this was a character of mesmerising depth and substance. As ever, the School House cast was large and talented, combining a terrific mix of veterans and new discoveries, and they performed with unabashed enthusiasm and energy, bringing the fictional town of Seahaven to vibrant life.

The ensemble crowd scenes were well directed and convincingly performed, giving William the apparently idyllic everyday backdrop against which to become increasingly jaded. His wife (Zoe Ingham) and mother (Nadine Khalaf) provided a sort of domestic cotton wool that became increasingly claustrophobic, whilst his best friend Marlon, played with reassuring sincerity - later exposed as cynically scripted acting, by the excellent Monty Bleiker, always appeared at exactly the right moment to gently talk him down from leaving. The numerous townsfolk, too many to list here, from doctors and surgeons to neighbouring children; ticket agents to nuclear factory workers, all played their parts with clarity and commitment, and a show like this depends on every one of these ensemble actors to provide the backdrop for Truman himself to shine, and the School ensemble certainly did this with panache. Memorable moments in particular were the initial appearance, and then scripted return after missing his son’s childhood with ‘amnesia’ of Truman’s father (Jamie Tabor), and the performance of Jimmy Tong as the wonderfully diminutive Fiji-bound father of Sylvia, whilst the use and staging of the waiters (Tallulah Lockheart, Hayley Chung and Benjamin Freeman) watching the show from the side of the Hall very cleverly reminded us of the artificiality of the world Truman inhabits. Bea Webster, meanwhile, was outstanding as the lovely Sylvia who falls for Truman and waits for him, ever hopeful that he will realise the truth of Seahaven. And then, of course, there was the egomaniacal Director Christoff, played with superbly smooth calmness by the ever-impressive Henry Pitt, surrounded by his team of teched-up executives (Esme Fearnley, Sukki Chiu and Luke Costelloe.) The interplay of Truman’s conversations, and the gradually introduced radio direction by Christoff was superbly unsettling, pulling back the curtain of deceit for us until the true magnitude of his God-complex was revealed in lines such as “Cue the sun!” And speaking of pulling back curtains, this production broke new ground with exquisite wit this year by utilising the actual technician’s space behind the back tabs, complete with startled duty staff member Beth Massey, as Truman starts to uncover the truth. That was very clever indeed!

The set as a whole, and the lighting in particular were very cleverly designed, and the Simpsons-esque clouds; the nonchalantly subliminal presence of a TV screen facing the audience; the slick use of small prop items (a hoover; a standup warning sign; a small boat; a falling TV camera) allowed for interest and comedic moments that charmed the audience. Clever too were the TV interviews (one well hosted by Miki Wood as a very convincing daytime TV presenter) where Christoff in his red beret and round dark glasses stood out beautifully as a villain for the TV age.

The heart of the production, however, was Truman himself as he portrayed a human being going through breakdown, and whether the sad reverie clutching Sylvia’s red cardigan in his cellar; the increasingly manic behaviours as he tries to leave Seahaven, or the final deeply poignant moments as he contemplates his future, clinging to the back curtain, this was a performance, and a production, of immense power and depth. And the ending? Well that was just genius. Roll credits!

Porteus –‘Hound of the Baskervilles’

In a year when, remarkably, all four houses delivered productions not previously seen at House Drama, there was something reassuring to Porteus’ selection of a Sherlock Holmes tale. There are certain invariables to a good whodunit that allow the audience to settle in to be entertained, and Porteus did not disappoint! From the universally recognisable central characters of Holmes and Watson to the dastardly and mysterious murders, this was fun!

Porteus is another house with a strong mixture of established and experienced talent and younger newcomers, and directors Anastasia Bell, Olympia Dunn and Adam Dickinson moulded their cast with skill and careful thought so that each performance was clear and confident, driving their plot forward like a great leaping hound…more of that later.

Of course the central duo of any Sherlock story are Holmes himself (played with zesty relish by Olympia Dunn) and the loyal and ever dependable Dr Watson (an impressive debut in House Drama for Annabel Cochrane). From the outset the relationship was very clearly set up, with Holmes wryly patronising his dear friend’s inability to see the world and its myriad clues as he himself does. Watson gamely follows Holmes’ instructions, whether to eagerly chase a mysterious stranger, or to take himself off to the wilds of Dartmoor to investigate a potentially lethal curse and it’s canine monster, and Annabel’s performance was both engaging and entertaining (never more so than when responding to the chillingly hellish howls with her catchphrase “what…was…that?!”) And Holmes? Olympia brought wonderfully to life the contradictions and flaws of the genius sleuth: his control freakery and impatience; his self-torturing perfectionism and his abrupt and often demeaning impatience with those around him, alongside which are set his deep faith in his friend; his fierce determination to see justice done and his genuine relish for the ‘thrill of the game.’

Alongside the strong performances of this dynamic duo, a gallery of other actors played their parts with panache. The lively Trinabh Srinivasan was on great form as Dr Mortimer, complete with tiny and astonishingly well-behaved pet dog; Bobbi Todd graced the boards once again, this time as the endangered Henry Baskerville, and Reuben Harford was excellent as the occasionally luxuriously bearded villain of the tale, Jack Stapleton. Another fantastic beard adorned Libby Lamb’s John Barrymore, and his phlegmatic calm was nicely contrasted by Faith Harford’s rather more emotional outlook as Eliza. Evie Marshall performed brightly as Laura Lyons, whilst Kim Whitehouse enjoyed a terrific performance as Beryl Stapleton. Other newcomers included Amelia Burn with a great portrayal of the young urchin Cartwright, and Elizabeth Xu was nicely indignant as the taxi driver reported by Watson. Adam Dickinson, meanwhile, supplemented his direction with a cameo as the unfortunate convict killed on the moors. And so to the unheralded star of the show – the Hound itself. This piece of costuming was absolutely inspired, equipping Flora Rogers and Aoshi Joshi with a giant toothy head, jet black coat and glowing red eyes. As the hound lurked at the back of the hall, or menacingly prowled the dark edges of the spotlight behind Baskerville, a hint of the beastly threat and an involuntary shiver up the spine were unavoidable. Very clever!

Aside from these named parts, the Porteus chorus deserve great credit for their discipline and focus; the acting off one another was excellent, and the crowd scenes were genuinely entertaining and interesting to watch.

The set was very nicely designed – simple enough to suggest the cosiness of Baker Street with the glowing lights of London behind it, and the broodingly eerie and wild moorlands so far removed from this (indeed the moors felt like a bleak and forbidding character in their own right!). The costuming was likewise very well suited indeed to the overall vision of the piece, and the lighting design and sound direction equally impressive. It is very tough for performer and sound team to accurately time a recorded gunshot to the pulling of the trigger onstage, but accurate this was! Meanwhile the choice of the driving music of the Sherlock soundtrack set up the drama and dark energy of the production to a tee.

This was a very accomplished performance indeed, melding the individual and ensemble performances with the key elements of staging, set, lighting costume and sound with great skill and balance to create a fascinating and memorable show. Bravo Porteus!

And a huge well done to all our talented back stage crews