17 minute read
Drama
THE ARTS
DRAMA
LACK OF TALENT
It’s a very strange feeling to realise that the people around you have interests and talents that you know nothing about, whether it’s the outspoken boy in your geography class or one of your closest friends. This was abundantly clear during Lack of Talent, the annual display of the wide array of Carthusian skills that make our community so unique. The show, performed three nights in a row, stunned all of us into complete awe and admiration. It was truly thrilling to see everyone in their element, doing the things that they are most passionate about.
The show opened on an exciting note with Sonic the Hedgehog’s version of The Adults Are Talking by The Strokes, performed by Xavier Currill (R) singing and playing guitar, Eddie Chai (R) on guitar, Danny Cross (R) on bass and Justin Wang (L) on the drums. It was a very fitting number to start off the show and kept the audience entertained from the very beginning. They also played Reptilia and Say It Ain’t So, later in the show.
Hattie Palmer (F), accompanied by Taki Ejima-Dalley (V) on the piano, took to the stage with Sophia by Nerina Pallot and we must say it was a spectacular performance. The unmatched emotion, combined with the beautiful vocals, made a memorable performance. Hattie’s voice, light and graceful, was enhanced by the audible strength and pain, making it incredibly special and quite heartbreaking. It was such a genuine and moving act – definitely one of the highlights of the evening.
Carrying on the tradition, there were three charismatic performances of the Brooke Hall Sketches, brilliantly written by Matthew Parnall (G), Guy Ellis (W), Ciarán O’Lionaird (C), and brought to life by the talented actors portraying different Charterhouse beaks that we all know and love, whilst also doing a spin on the story of A Christmas Carol by Charles Dickens. As always, it had the audience constantly laughing and was definitely one of the most memorable aspects of the show.
Taki Ejima-Dalley stunned us all into complete silence by inventing an improvised piano piece on the spot, gracefully performed without a hint of uncertainty or doubt. This brilliant achievement was enhanced by an eerie atmosphere, characterised by dark smoke surrounding the piano and a spotlight on Taki so that he appeared to be shining through the darkness. The soft piano notes then transitioned beautifully into one of history’s greatest classics as Theo Needs (B) played Your Song by Elton John. He fully immersed himself into character, performing with grace, elegance and charm.
One of the most exciting moments of the night was given by Danny Cross and his bottle flip. He hadn’t succeeded on the first and second days of the show, but during the last performance (and after an initial failed attempt) he finally succeeded: as the tension built up, he flipped the bottle and it landed perfectly upright. The audience burst into applause.
The Avid Readers of a Communist Manifesto performed their rendition of Merry-Go-Round of Life by Joe Hisaishi. Eddie Chai played the melodica, Taki Ejima-Dalley played the piano and Tom Byrne (g) played the bass guitar. The highlights of the night were two incredibly moving performances by Ciarán O’Lionaird (C). Both poems, ‘Autistic Paradox’ and ‘Transsexual Battle Cry’, were delivered with powerful emotion and clarity. The poems spoke out about personal experiences and were truly touching, ending with rapturous applause from the audience. The confidence of the delivery was inspiring, especially for something so close to his heart. I think we can all aspire to be as amazing a writer as Ciairán. A truly phenomenal job – well done!
A memorable performance was given by Liv Camacho Wejbrandt (N), playing All I Want by the young and talented Olivia Rodrigo. Liv sang beautifully, with vocal strength and musicality, bringing some of the audience to tears. She also performed background vocals to the song Wait For It from Hamilton, alongside Guy Ellis (W). The two formed an incredibly dynamic duo. We saw Liv and Guy on stage once again, exhibiting their talent with a very amusing reenactment of Don’t Lose Your Head from Six, the musical, given by Kirstie Kwakye (Su). Eddie Chai followed with a remarkable performance of I Dreamed a Dream from Les Misérables. Combining his exceptional singing and acting skills, he wowed the crowd with a raw performance full of emotion. He performed with the ease of someone who was truly born for the stage.
Other notable performances were Arcade and Safe Inside, both sung by Jack Guest-Gornall (R), and both featuring immense passion and vulnerability. As well as this, there was also a lovely performance of Stars from Les Misérables by Guy Ellis.
Overall the whole production was unforgettable and it couldn’t have been possible without the amazing people working backstage, adjusting the lights and putting on background tracks. Harry Church (G) deserves a special mention as the director who guided the performers through those three special nights, as well as performing a very funny comedy sketch.
What an absolute spectacle! One which, we are sure we can all agree, has served as a magnet, bringing us closer together than ever before. The final moments were filled with intense feel-good energy as the whole line-up of talented students joined on stage and swayed to the iconic Hey Jude, by The Beatles, while the audience stood up to clap along to the beat. A fabulous job by everyone involved!
This event raised nearly £3,000 for Amnesty International.
Carola Pozzi Carmelini (F) and Omala Opubor (F)
A CHRISTMAS CAROL
From Alastair Sim through to Michael Caine’s appearance with the Muppets, everyone has their favourite ‘Scrooge’. It is no mean feat to humanise a pantomime character who wrings misery from a joyous season and spits invective at every turn but Charterhouse’s inventive take on A Christmas Carol at the end of OQ did just that. It was a joyous return for many to the Ben Travers Theatre after eighteen months which had tried their best to dampen all theatrical efforts, though Miss Emily Fox and her team have kept the flag flying at all times. With Mr Chris Bagust’s beautifully constructed set, we were immediately reminded of what is at stake for Scrooge (and for us all) by the suspended clock which hovered menacingly above: time.
From the bustling opening scenes, it was clear that we were watching an ensemble performance. Dickens is renowned for the range of his characters and all of life was certainly there, from the dispossessed (Ted Greenwood (G)) to those collecting for them. One of the triumphs of the production was the inventive decision to cast three Scrooges. This had the moving effect of demonstrably mirroring Scrooge’s internal transformation over the course of the play. Our first Scrooge (played by Nicko Lawrence (B)) reminded us how darkly comic the original text is (with much of it kept in this adaptation by Karen Louise Hebden), coolly batting away the charitable collectors with the deadpan wish that the poor might die to ‘decrease the surplus population’. Jesse Jabaru (R) was a menacing and commanding Jacob Marley weighted by his chains forged in life before we were whisked away by our Ghost of Christmas Past (played by Fleur Hinchcliffe (N) and Emma Horner-Long (F)) to Scrooge’s past. Given a glimpse into his lonely childhood, we soon arrived at a joyous party hosted by the Fezziwigs, one of the first of a number of characters who Scrooge fails to learn from. There were tender moments between a young Scrooge (Arthur Templeton-Ward (B)) and his first love, Belle (Omala Opubor (F)), including a poignant dance that saw them drift further from each other as the older Scrooge watched helplessly on.
Our Cratchits, headed by Leith Fallon (B) and Guy Ellis (W) (who played Mr Cratchit on alternate performances) and RosieMay Kennedy (N) were a joyous pair who brought home to Scrooge in the visit by the Ghost of Christmas Present (played by Liv Camacho Wejbrandt (N) and Vihaan Sharma (R)). Tiny Tim was brought movingly to life by Felicia Freeman (S) through the use of puppetry designed and created by Miss Helen Pinkney and Mr Gavin Plowright. Scrooge’s nephew, Fred (Tom Byrne (g)), exuded bonhomie as our second Scrooge (Toby Walker (P)) watched his name become the butt of Christmas jokes. But already, here was
the sense that Scrooge had the capacity for change within him as we left him hunched in distress on his bed. Punctuating the entire production was music and carolling of the highest quality, directed by Mark Shepherd and Harry Boulton. This was more than mere accompaniment and gave great emotional weight and reflection to Scrooge’s internal wrangling and introspection, paving the way for the moving finale.
The final visitation was nigh and our Ghost of Christmas Yet to Come was suitably foreboding, being brought to life (by Daniel Cross, (R), Timi Ebimami, (L) , and Jesse Jabaru, (R)) with puppetry as a looming and ominously silent spectre. Here was our final Scrooge (played by Isabella Beling, (N)) who was here to perform the full U-turn. Before Scrooge was allowed to redeem himself, we found ourselves at the edge of the grave for some more dark comedy as the ‘charwomen’ and Mrs Dilber (played by Maya Besson, (N), Lola Gorst, (N), Jemima Jones (S) and Jess Manches, (N) ) fought over his death linens. Darker still was the sight of Tiny Tim’s grave kept watch over by the grieving Bob Cratchit. This is the moment Dickens had led us to and, like Scrooge, there was only one way to turn. Daybreak arrived and we had our window opened, our turkey ordered, and friendly visitations paid to the Cratchits and nephew, Fred. But, with our three Scrooges who each brought something unique to their performance, we had a genuine sense of journey and transformation as a life and soul was redeemed. It was hard to walk out into a freezing November evening without feeling warmed, reflecting that our cast under Emily Fox and Dean Chisnall’s guidance had caught brilliantly Dickens’s magic.
Mr Will Gaisford
Academic Drama
It has been a busy Quarter for Academic Drama. We have welcomed a new LAMDA teacher, Mrs Charlotte Hunter, to join the department due to our increase in pupils and we are now offering Musical Theatre, Verse and Prose and Public Speaking as well as the Acting options. Impressive and imaginative LAMDA pieces were shared at the end of Quarter, with a special mention to Andile Thabethe (D) for his captivating performance.
The Fourths have embraced the creative curriculum and it is great to see so many Drama enthusiasts! Pupils have been exploring Lord of the Flies and The Changing Room and refining their dramatic skills.
GCSE Drama has also produced excellent practical work, with pantomimes for Christmas (Oh no we didn’t... oh yes we did!) and imaginative devised work as well as solid responses to the set texts 100 and The Crucible. Well done to Harry Wood (G), Matteo Barzaghi (B), Denis Tkachev (H) and Max Ferber (L) for their creation of Putney Pusher for the GCSE Devised examination. Fingers crossed that the whole cohort of 34 pupils will be able to see Come From Away in January 2022 as part of their Evaluation of Live Theatre.
The A Level set enjoyed a trip to see A Long Song at Chichester Festival Theatre in October and appreciated the multi-functional set and use of projection. 2YS pupils are currently preparing The 39 Steps for their practical examination in March.
The Groundlings Theatre Group is open to Fourths and Removes and meets every Wednesday at 16:15. We performed scenes from Alan Ayckbourne’s Gizmo for the December showcase with excellent performances from Poppy Everest (C) Jemima Jones (Su), Jess Manches (N), Alfie Smith (R), ArthurTempleton Ward (B), Oliver Ferry (D), Andile Thabethe (D) and Eve Dailly (N).
We look forward to seeing you in the Theatre soon!
Mrs Rebecca Pugh, Head of Academic Drama
FAME
It might be back to the 1970s with the economy, but there’s not doubt that the 1980s are having a cultural moment. Big hair, bright colours and synths are back in. The Ben Travers Theatre, ever in tune with the zeitgeist, brought us a highenergy end to LQ with Fame: The Musical. Within moments of seeing the set (constructed and designed by Mr Chris Bagust, Miss Helen Pinkney, Mr Gavin Plowright and a committed team of pupil artists), we were reminded that New York in the 1980s was a city with a gritty edge, still emerging from the shadows of a dark decade. The opening number Hard Work set a pounding rhythm as we were treated to the full force of the ensemble’s vocal power. From there, we had the introduction of our teachers (Emma Horner-Long (F), Chiara Francesca Ramon (N), Timi Ebimami (L), and Guy Ellis (W)) who were here to guide, cajole and challenge their charges, dispelling naïve dreams, whilst encouraging genuine talent. The full scale of the BTT was on display as our stage divided into three classes at the High School for the Performing Arts (or PA): the Dancers, the Musicians and the Actors. Underpinning all of their performances was the tightest of bands led by the show’s Musical Director, Mr Harry Boulton, and Mr Mark Shepherd, who seamlessly steered the musicians through jazz, funk, rock and pop numbers.
Carmen gives us the iconic canteen spectacle of the eponymous musical number with its irony tinged I’m Gonna Live Forever. We couldn’t help but share in the sheer energy of the cast as they soared, twirled and poured themselves into their performance through the fantastic choreography of Mr Jeremy Morganty.
A hymn to the power of drama, Nick Piazza’s (Tom Byrne (g) and Xavier Currill (R)) I Want to Make Magic set us up for what was to come. We met the cocksure Joe Vegas (Theo Needs (B)), resplendent in a Bronx accent and leather, with his risqué tribute to female beauty. The storytelling never lets us forget that these young wannabes are flawed diamonds in the rough who need polishing and schooling. Yet, there is talent. Take Jack Zakowski (Jack Guest-Gornall (R)) whose rapping, preference for street dance over ballet, and anti-establishment views made for a potent, foot-tapping combination, perfectly balanced by the graceful Iris Kelly (Clio Yu (Su)). Or the multitalented Schlomo Metzenbaum (Jago Brazier (R) and Eddie Chai (R)), looking to forge his own path apart from his prolific father’s influence. Together with his band members, ‘Lambchops’ (Felicia Freeman (Su), who learned to play the drums for the production) and ‘Goody’ (Timothee Colin (B)), he is looking to make it on his own. We felt for Serena Katz’s (Maya Bayliss (F) and Thea Marsh (F)) unrequited love as she looked to turn fiction into real life in Let’s Play a Love Scene. Finally, we had the remarkable Carmen Diaz (Fleur Hinchcliffe (N) and Lauren Stewart (C)) chafing at the confines of PA and longing to break free into the big, wide world. Carmen gives us the iconic canteen spectacle of the eponymous musical number with its irony tinged I’m Gonna Live Forever. We couldn’t help but share in the sheer energy of the cast as they soared, twirled and poured themselves into their performance through the fantastic choreography of Mr Jeremy Morganty.
The performance had great comedy despite Carmen’s Icarian overreaching. We had the (perhaps now a little more troubling 30 years on) lament of Mabel (Aomi Hiroi (Su)) as she struggled with her commitment to her ‘seafood diet’. There was time to show that teachers do have a human side as Miss Sherman (Emma Horner-Long) and Ms Bell (Chiara Francesca Ramon) came together to help Jack Zakowski confront his illiteracy.
Teenage hormones collided with Shakespeare as a performance of Romeo and Juliet allowed Nick Piazza to step into the role, cementing the union with Serena Katz. Supporting all of this onstage drama was a remarkable team of pupils, led by Stage Manager Harry Church (G) who had to step up to oversee the whole show’s tech during performance week thanks to Covidrelated staff absence – no mean feat given the number of radio microphones, lighting cues and scene changes involved. The final number was sombrely undercut by the news that Carmen Diaz (Fleur Hinchliffe and Lauren Stewart) had died of a drug overdose. The 1980s was not all legwarmers and colour. Nevertheless, this is theatre, and we were treated to a revived Carmen belting out our title track one more time. Amongst some remarkable individual performances from the cast (and some of those leads were in the Under School), we were reminded that this was very much an ensemble piece as our legwarmers filled the stage for one final time before graduation. Directors, Miss Emily Fox and Mr Dean Chisnall, who would no doubt have thrived in PA, had produced something really extraordinary with their young cast and reminded us that Charterhouse could be rebranded as Charterhouse School of the Performing Arts. We had Carmen’s mantra of ‘remember, remember, remember’ ringing out as we left the theatre: we were never going to forget.
Mr Will Gaisford
SPOTLIGHT ON LAMDA
Ahead of LAMDA examinations taking place in March, pupils performed at a LAMDA Showcase held in the Ben Travers Theatre. This was the first public LAMDA Showcase event we have been able to host post-pandemic and it was a pleasure to welcome parents, peers and performers.
LAMDA (London Academy of Music and Dramatic Art) lessons are an increasingly popular activity at Charterhouse, with close to 100 pupils taking weekly lessons. Pupils prepare for a range of examinations in Acting; Musical Theatre; and Verse, Prose and Public Speaking. Pupils work towards an examination in their chosen discipline, with the higher-level exams holding UCAS points.
The pupils were asked to perform one piece for the showcase. This is just a fraction of the total work that is prepared for the examinations, in which two or three performance pieces are assessed with additional questions on Drama theory.
Fleur Hinchcliffe (N) performed a charming Grade 8 Musical Theatre monologue from Meet me in St Louis. Amusing the audience with their comic skills were Krishiv Sekhri (H) as Adrian Mole, Ian Kwan (B) and Saivansh Chopra (B) as young Eddie and Mickey in Blood Brothers and Toby Morris (B) and Dominic Wilder (B) as two hopeless criminals in Loot.
Nicko Lawrence (B) gave a captivating rendition of his poetry piece, The Spider and the Fly, with Thomas Bateman (S) and Shiv Pillai (G) also performing verse and prose pieces with clarity and ease. John Deacon (R) and Lola Gorst (N) delivered heart felt monologues from modern plays, whilst duo William Bourke (B) and Henry Cardozo (P), and soloist William Ferry (V) tackled dramatic pieces. Classical pieces from Shakespeare to Lorca were performed with maturity and conviction by Leith Fallon (B), Ritvik Mekala (B) and Omala Opubor (F).
The showcase was a valuable experience for all those who performed. It was wonderful to see the pupils engage with such a wide range of material and share their work with an audience. I hope this helped them build confidence ahead of the examinations, and that the experience of performing under the lights of the BTT stage was both enjoyable and memorable.
Mrs Liz Bennet
