Fun constructing: the wright stuff

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Construction is in the air – literally in the case of the steel skeleton of the new Art & Design building, which is being assembled like a piece of outsized meccano in the previously undisturbed sky outside Steephurst. It is also proceeding apace outside Design, where Sammy M’s gracefully engineered skateboard ramp is nearing completion. No doubt the final layers of varnish are being applied to pieces we will admire on Parents’ Day.

But it is the shaping of word and song that I want to celebrate for a moment. Here are three topical instances from across the age range.

Sunday, 4 pm Bedales Olivier theatre – the cast and crew of Everyone else is a superhero are working hard in the Olivier theatre as their all-in weekend nears its conclusion. It is the first time that I have seen these Block 3s and 4s in action and they seem somehow (given that they have been working on this play for 24 hours already) to still have boundless energy. I sit and watch. Are they rehearsing or are they constructing the play? In my (of course) old-fashioned way I still think that you find a play on a page and then you, well, do it; but life in the theatre has become much more interesting than that – so, no, you old fuddy duddy, you devise a play, creating something out of an idea and, lo, the play is constructed from the process. However much I know that this can happen in theory and indeed I have seen recent evidence of its success with Phil King’s productions, here I am, watching a rehearsal and I am seeing this play evolve. It is being made. Stuff happens in the rehearsal – yes, some funny and unexpected stuff (secret for the time being); and, yes, the funny, accidental stuff has gone into the play, with the decision being made instantaneously – bold and clever, I say, especially as at some point (I hope by now) Richard Weinman who is our director in residence, needs to say, “STOP, THAT’S IT, NO MORE CHANGES!” And the play will stop evolving and start being honed towards performance. Anyway I am looking forward to seeing how it turns out and I think it will be funny and thought-provoking – in the Theatre from Saturday onwards. It will have been great fun to be in – and a brilliant bit of education.

Monday, 7.30, Drama studio – three short plays performed by 6.1s. All have been written by sixth formers for the National Theatre’s New Views competition. Each is about 15 minutes long. The actors have had the unusual experience of working closely with the authors (their peers). The subject matter – lives on the edge, literally in one case – demands a high level of skill in the writing – especially that tricky business of creating dialogue that works. All three of the plays have something to say to the packed audience. Impressively all three scripts have been learnt and are performed with feeling. It’s a gutsy and powerful occasion.

Wednesday, 9.15, Dunhurst Well – the world premiere of The Gruffalo, the opera – musical settings and songs composed by the children of Dunannie. Here is the spirit of devising and improvising at large in Dunannie. Under the inspiring guidance of Mea Wade and Ben Harlan, the children have improvised tunes for the words of The Gruffalo. The tunes have been then quickly written down as they are being sung and chords have been created to support them. So what we hear in the Well was lots of different tunes stuck together with chords to make one coherent melody. First, the Forest Overture is performed by the Dunnanie Orchestra. Each creature has its signature tune, so for example the owl’s call is created on a battery of xylophones and recorders. Then comes that story itself, with the full choir in support. It is rapturously received: bravo!