After the interval, the Gothic themes continued with Drake’s interpretation of vampiric modern classic Let the Right One In . The performance of young James White (Year 9) dovetailed beautifully with that of Year 11’s Zachy Fleming (also directing), elevating a frustratingly staccato, but decidedly Lynchian production. Indeed, the detailed performances from all were the standout here, although special mention must go to a genuinely shocking moment of gore, one of two remarkable special effects on the night. Marlowe were next with another West End hit of 2023, this time Tom Basden’s giddy and provocative reinvention of Accidental Death of an Anarchist. James Pinon-Wil- liams (Year 11) gamely tackled the incredibly challeng- ing lead role of The Maniac, producing some hilarious moments. However, I felt both his performance and those of the wider company perhaps relied too heavily on the gag-laden script, and could have benefited from more confidence, clarity and playfulness, which can only be achieved with extensive rehearsal – hard to achieve just weeks after mock GCSE exams. DNA by Dennis Kelly is a fantastic play for young per- formers, and Sidney’s production showed some promising performances, even if the overall production was a little too safe on a night where bolder directorial and ensemble choices really stood out. Nevertheless Orson Matthews’s (Year 11) leather-jacketed turn as Phil provided a signifi- cant burst of star quality and marked him out as an actor to watch. Owen Sheers’s lyrical Pink Mist is heavy on literary im- agery, and Spenser’s interpretation could perhaps have benefited from more daring physical imagery in their production. That said, the Year 10 directors, Toby Bamert and Henry Findlay (who also performed), should draw huge confidence from this promising effort, delivering the second great special effect of the evening as Sebastian seemed to teleport to the upstage balcony in the piece’s final moments. Congratulations to all eight Houses on a night where more than 60 students bravely flexed creative muscles and demonstrated undoubted precocious talent. I was struck by the generosity from so many Houses, particularly in groups where directors were also performing. All in all, it was a wonderful evening of collaboration, invention and playfulness. Bravo! ◉
Next up was Raleigh with some beautifully played, ambi- tiously staged extracts from a House Drama staple, The Curious Incident of the Dog in the Night-Time . Next year’s entry could be improved by a more confident and prac- tical approach to use of set, although the final moment provided a startlingly moving use of stillness from Romi Carni and Tristan Harland (both Year 10). Howard’s choice of Chat Room was bold in a time when online chat rooms feel very much a thing of the past. Confidently directed by Tristan Sevanot Davis (Year 11), who also starred, the piece was full of lovely imagery and built towards a powerful final monologue. Special mention must go to the wider ensemble, who brought so much dis- tinction and physicality to their characters despite being seated for a majority of the performance. Closing the first half was Jonson’s outstanding Jekyll and Hyde , boldly conceived and executed by Sebastian Hitchcock-Spencer (whose commitment in the ensemble was striking on a night when so many Houses used the wider ensemble to great effect) and Joseph Mathews (both Year 11). As a student, I always felt the key to a House Drama entry is an arresting opening sequence to grab the audience in the first 30 seconds, and the Jonson team clearly had the same idea, confidently plunging us into a Gothic world from the downbeat. Featuring detailed mime, excellent use of space and technical elements with a sophisticated, rock-solid production concept, this was the unarguable standout of the evening.
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THE ALLEYNIAN 712
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