‘NELL GWYNN’ REVIEW

By Polly Symes

If you didn’t find the time last term to go and see ‘Nell Gwynn’, I have one question for you: what on earth were you doing?!

Amelia Baldock and Leticia Nare (pictured on the left) embodied empowered, outspoken and heartfelt Nells, and Ben Young and Herbie Sleep (below) played the hedonistic, used-to-getting-his-way yet sensitive Charles believably A huge well done to this principle four.

Knowing a little about the historical context of the play, I’ll admit that I had expected a historical, straight-faced production… My goodness, did the cast blow my expectations out of the water!

In terms of themes, it was a wonderful choice for a school play (well done, Mr Russell). Combining moments of hysterical, eyewatering comedy with more serious themes of unrequited love, alienation and even sudden death, it ticked all my boxes as a delightful moment of December escapism, transporting me directly to 17th Century England The costumes, set and lighting were all outrageously fun, as you can see in the beautiful photographs taken by A-Level photographer, Ellie Simpkin Before you read on, be aware that the plot involves a ‘playwithin-a-play’ theme, so when I refer to a writer/director/actor, I probably mean a character!

The supporting cast (pictured on the next page) all portrayed their characters marvellously, immersing their audience in the story This ranges from whether they were heartbreakingly pining after a love (Zain Radwan), exasperatedly trying to write and direct a play (Zizie Ndlovu and Noah Gould, respectively), prancing about as the sidelined diva (Noah TittertonManos), playing the earnest yet blundering actor (Jack Evans), or the very amusing busybody costume-manager (Tess Garrett)

Sophia Marshall and Georgia Hutcheon gave us dramatic portrayals of a celebrity's snubbed sister and mother, and I was thoroughly impressed by Sophia’s trust in letting Zain carry her ‘unconscious body’ off the stage!

Out of the “playhouse” and inside Charles’ court, Esteban BoruelLopez was sinister as the king’s advisor, and both Millie Cranston (pictured right) and Orla Boulter played the spawned lovers hilariously and passionately (‘wine’ was thrown across the stage by the latter). Oliver Du Feu was a hardworking, if understandably slightly disloyal servant, and Katie Hilyer was haughty as the French Duchess; I must commend both her and Orla for mastering their line delivery in French and Portuguese, respectively!

Overall, it was an incredibly professional production (one of my favourites ever at the College), supported by a large, enchanting ensemble, a cheerful crew (pictured left) and the courtly band: Nelly Bathard-Smith on the trumpet,

I was impressed by Sophia’s trust in letting Zain carry her ‘unconscious body’ off the stage

Harry Shouksmith on the flute, Oliver Shouksmith on the trombone, Oliver Rivett on the violin, and Matthew Wakefield and Mr Jordan on the harpsichord The work that goes into these performances cannot be underestimated, and I commend and congratulate the entire team involved for their stellar efforts.