DRAMA
Roberta Zuric, adjudicator Upper School House Drama
O ne of the main rules in theatre is: don’t be boring. Be bold, be committed, and do it with style. The 2017 Upper School House Drama definitely got the memo. This was a wonderfully diverse array of plays, all with a strong understanding of style and an admirable commitment to performances. We started the evening with Sidney’s take on Bernard Pomerance’s play The Elephant Man . Sensitively directed by Zak Asgard, who also starred as Joseph Merrick, the play swept us into Victorian London with beautiful movement and poignant live music, skilfully performed by Ashley Austin. The clarity of the storytelling and the fluidity of the transitions demonstrated the company’s theatrical skill. It is very hard to hold silences on stage effectively, but the company managed it brilliantly — particularly the engaging Jonathan Stone as surgeon Frederick Treves. From Victorian England, we were swept to a French tavern in the Second World War, with Raleigh’s adaptation of Quentin Tarantino’s Inglorious Basterds . Directors Freddie Mihranian and Gianluca Spetale deftly captured the irreverence of Tarantino’s film. The ensemble created some strong stage pictures and evoked the sense of jovial drinking soldiers. Gianluca Spetale, Joseph Abouchar and Alfie Keenan created a wonderfully tense atmosphere, and a special mention goes to Sam Schulenburg as Bridget von Hammersmark – the best female performance of the night!
Grenville House followed with an original piece, Spinning , written and excellently performed by Max Parfitt. Originally penned for National Theatre’s New Views Programme when Max was in Year 10, it was adapted by Max for this year’s House Drama. Supported by Sam Gordon Webb’s composed interviewer and delicately directed by Peter Bristow, Max Parfitt delivered a psychologically mature and committed performance. New writing can be daunting but the company were fearless in their presentation, delivering an intense and detailed piece. Drake closed the first half with Richard Bean’s hilarious One Man Two Guv’nors . Joseph Fleming had the audience in the palm of his hand with his boisterous portrayal of Francis, a man who finds himself with two masters. This company took the play’s farcical nature and ran boldly with it, to great effect. Lexi Jeff’s comic timing was superb as the old waiter Alfie, and Seb Connor matched it brilliantly with his physicality as the posh Stanley Stubbers. All in all this was a funny and engaging piece! The second half began with Howard’s atmospheric adaptation of Francis Ford Coppola’s mammoth film Apocalypse Now . This ambitious piece, directed by Thomas Blackman, starred a six-strong ensemble with the best soundtrack of the night (even weaving in the dulcet tones of Marlon Brando himself). Opening with a powerful movement sequence, the company set the tone and energy for the rest
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