By Caitlin Nugent, 6.1
On Tuesday, the 6.2 A Level students performed two pieces across the course of the evening. Firstly, they performed scripted pieces in a naturalistic style, working in groups of two or three to perform short extracts from contemporary plays such as The One by Vicky Jones and After the End by Dennis Kelly.
Each of the extracts was performed in an intensely realistic manner and it was clear that the 6.2s had been working hard to prepare beautifully nuanced pieces. Later on that evening in the Theatre, we watched their devised pieces, which were created in the style of a variety of practitioners, including Grotowski and the Belarus Free Theatre.
By Livi Grout-Smith, Oscar Clark and Amber Pearson, 6.2
Last Wednesday morning, we were lucky enough to be visited by Natalia Koliada (Director) and Sophie Robins (Head of Communications) from the world renowned theatre company Belarus Free Theatre (BFT).
Created in Belarus in 2005 as an underground theatre company and having to perform in secret locations so as to protect themselves from prosecution from the Russian and Belarusian governments, BFT’s directors, Nikolai Khalezinm and Natalia Koliada, were forced to move to London to escape further persecution and have since directed their actors in rehearsal via Skype calls between London and Minsk. Having chosen the company as the inspiration for our final 6.2 devised piece, we had never thought we would ever get to meet one of them, let alone have lunch with them, as we did during their visit.
By Phil Tattersall-King, Deputy Head (Co-curricular)
The connection between Petersfield Youth Theatre (PYT) and Bedales remains as strong as it always has been. Not only does Bedales help with provision of rehearsal space, there are always Bedales students and staff involved in the productions in some way.
In this year’s glorious production of C. S. Lewis’ The Lion, the Witch and the Wardrobe, Block 4 student Rowena le Poer Trench took on the role of Susan, one of the four children who stumble through the fur coats into a different world where animals talk and time works differently. Rowena carefully showed her character’s increasing awareness and wisdom as the plot developed, always being genuine and utterly engaged in the fiction.
By Blossom Gottlieb, Old Bedalian 2019
Perhaps it is the emotive true story of Mexican nun Juana de la Cruz that created the atmosphere of concentration in the Theatre during The Heresy of Love’s three-night run in December, athough I am inclined to give credit to the incredible cast and crew for really bringing this script to life. Smooth, practically choreographed transitions of the set whisked the audience from scene to scene, helped by the fabulous ensemble and their melodic singing. A gate was lowered from the ceiling to immediately capture the convent. This minimal use of set had maximum versatility, and therefore impact.
Notable performances from Kit Mayhook-Walker as Father Antonio and Oscar Clark as the archbishop at the start pulled the audience into the play ‘in medias res’ and remained strong, whilst Will Needs owned the stage with his excellently articulated monologues as Santa Cruz. Other beautiful examples of characterisation include Sienna Mills-Jung and Amber Pearson, who took on the roles of Sebastiana and Marguerita respectively, with Gus McQuillin as Viceroy and Bel de Gier giving a heart-warming performance as Vicereine.