Hear from a member of the cast of Macbeth about how they found the experience.
Read a 5-star review of the Drama department’s recent trip to see ‘An Inspector Calls’.
Find out how PA Soc got on in our first Scripts and Snacks sessions earlier this term: hintit all went a bit wrong!
Welcome to the second edition of 'Spotlight' - NLCS's performing arts newsletter. I'm Tammy, chair of Performing Arts Society. Theatre and the arts in general mean so much to so many people across the whole of the school and I think it's safe to say that anyone who has been in an NLCS production will agree that being part of a cast is one of the most amazing things. You meet so many new, like-minded people, have so much fun, and become like a family. Hence why this year we are launching PA Soc in a whole new way, to help bring you your theatre fix.
This half term, we started having weekly meetups called 'Scripts and Snacks' on Wednesday lunches open to all students in Year 10-13. We've had to press pause on the sessions while exams get underway, but in the first 2 weeks of term we read through and acted out the hilarious script from 'The One Act Play That Goes Wrong'. You can observe the fruits of our labour in the Scripts and Snacks feature inside. We are also currently planning for the Summer Festival so keep an eye on your emails. Plus, we are looking ahead to next year, when our chaotic Scripts and Snacks read-throughs will become equally chaotic rehearsals for mini lunchtime productions across the terms. We will be looking at all your favourite genresmusical theatre, comedy, Shakespeare, improv, and much much more!
With that in mind, here's everything the drama department has been up to so far this term!
We are looking forward to a final session closer to the end of term with even more scripts and even more snacks!
The Year 9s and 10s have started rehearsals for their black-box production of director Mr Hennelly’s original play, ‘Crouch End to Brisbane’. We can't wait to see them perform later this term. Tickets will be released soon!
Keep an eye out for posters and info about what PA Soc is planning for this year's end of term Summer Festival!
Follow us on instagram for updates, reels and photos!
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Mr Tosh tells us about his favourite shows, songs and characters and why they have a special place in his heart.
My 3 favourite shows:
1) 'Black Watch' by the National Theatre of Scotland. An early piece by Frantic Assembly about the invasion of Iraq, and the role the Scottish regiments played. The first time I’d really seen physical theatre 'work'. I still remember, viscerally, the reactions it provoked in me.
2) 'The Inheritance' by Matthew Lopez. An epic play, presented in 2 parts, about the lives of LGBT+ people in the Western world today, thanks to activists who came before us. It was everything a good play should be; incredibly moving, funny and with plenty of opportunity to reflect upon important issues in today’s society.
3) ‘The Phantom of the Opera’ by Andrew Lloyd Webber. It was the first show I really was hooked by. The opulent sets, lush music and sweeping story all gripped me. I came to London for my 16th birthday to watch it, and have seen it many times since. It never fails to impress!
The show at the top of my theatre bucket list: ‘Hadestown’ by Anaïs Mitchell. I missed it the first time it was here before heading to Broadway, but it is on its way back to London soon. Greek myths and musical theatre!? I’m in!
My favourite musical theatre song: The real answer is ‘It’s Hard to Speak My Heart’ from ‘Parade’ by Jason Robert Brown. An incredible and very important show, with a fantastic score. But in terms of what I’m belting along to the most at the moment... ‘I Say No’ from ‘Heathers’!
The character from any show that I'd most like to play: An easy one for me - Mrs Trunchbull in ‘Matilda: The Musical’. Whoever decided to have this role played by a man in drag is a genius, and it’s a dream role for meI’ve always wanted to shout MAGGOTS at children and get away with it.
On the 10th and 11th of May, Year 7 and 8 performed the production of Macbeth, directed by Mrs Wettreich. The story follows Macbeth and his fiendish wife, a tale scattered with bad decisions, regret, and death.
This was my first time performing in a play in the Senior School, and it was a fantastic experience to be part of this ambitious production.
Rehearsals began in January and planted the roots for the haunting show that was to be. In this version of Macbeth, the witches were controlling and orchestrating Macbeth’s every move, onstage constantly, echoing, hissing, and slithering across the set. There were many movement sequences in this piece, which underlined the defining moments of the play. Shakespeare’s original language was used and, while challenging to learn, it gave the
performance a more mature and authentic feel. Leading up to the show, there were many tiring late nights, but it was magical to see the show finally coming together. Mrs Wettreich had a very clear and creative vision which led us all to the final eerie outcome. We had never seen some of the scenes before and it was such a satisfying feeling to watch all the different parts that we had been working on for such a long time come together. It was also a chance to see the process of theatre direction - quite a fascinating craft!
As the lights and set came into play, we all stood in awe as we were blinded by thousands of lights, a spooky haze and a glorious sloping ramp that proved a necessity for the magnificence
of th staging and physical aspects of the performance. At that point the thought struck us all: we had a show!
performed our dress rehearsal to the Junior School and, in after the last scene, we were all cheering and clapping. Now we were ready for the real show!
Two evening shows back-to-back, and, on the very last night, I got feeling knowing that we would never perform it again, that comes after the elation of acting in such an impactful piece. meeting so many new people in the process, especially years who were eager to pass down all their wisdom about previous plays and simply being in Year 7. On the last night,
we all signed cards to give to the tireless Mrs Wettreich and Mr Boase and to each other a “sweet remembrancer,” as spoken Macbeth.
Overall, this production was a terrific achievement for the cast and crew and phenomenal production, motivated talented direction and students. - Giorgie
On the 29th April 2023, students took time out of their busy Saturday to go and watch a fascinating production. For 1 hour and 50 minutes, we were entranced by a wonderful set and brilliant acting. By the end, however, we were all contemplating much deeper questions of morality and reality.
'An Inspector Calls', written by J B. Priestley, is a morality play set in 1912. It follows the interrogation of the Birling family by Inspector Goole, on the subject of the apparent suicide of Eva Smith. Although the family are initially confused as to why the Inspector has come to them, they soon realise that all of them have secrets to hide, secrets which intertwine them all with Eva Smith’s fate. As the night progresses, and more is uncovered, the characters begin to reveal their true nature: the seemingly all-knowing Inspector, the unrelenting parents, and the guilt-wracked children. Undoubtedly, however, it is the unexpected twist that occurs towards the end of the play which allows us to truly comprehend Priestley’s message.
My favourite element of the play was the set-design house.
Its symbolism was especially powerful; it illustrated the divide between the snobbish elite and the good-willed. In particular, it highlighted that the elite can also be righteous, and leave the influence of the ‘house’. Initially, all the actors stayed in the house, above the Inspector. They would speak to him from an elevated position, illustrating the hierarchy and their feelings of superiority. The father was questioned first, and he only came down out of the house when the Inspector began revealing the part he could have played in Eva Smith’s death. Next, the daughter, her fiancée, and the mother all came out of the house. The Inspector had brought them all down to his level, by aiding in the reveal of their secrets. Finally, the brother also joined the family downstage, having left the house earlier, unseen by the audience. Crucially, due to his secret having been already revealed, he came onto the stage from the wings, rather than descending the stairs of the house; he had already been dragged down from his privileged position.
It seemed as if the Birling family had learned their lesson, and changed their ways, at the expense of a young girl’s life. Yet, when all is revealed, we see the older generation go back to its old ways; it is only the younger ones who seem to truly understand that their actions have consequences towards others. Consequently, it is the younger ones who remain downstage, out of the house. They have escaped its influence.
A morality play strives to convey a harsh truth to its audience, to compel them to think for themselves about this issue. ‘An Inspector Calls’ will remain in my mind for a long time, urging me to mull over the truth of our society, and how to endeavour to change it. I hope we can all ensure that we stay grounded, outside of the ‘house’ which strives to isolate us from the rest of the world. - Rali
This half term, PA Soc started Scripts and Snacks, a new theatre club for upper school. In the first session we read and acted out the wonderful ‘Play that Goes Wrong’ (one-act version, of course) by Mischief Theatre, and I can confidently say that it was the most fun society session I have ever been to. Between the delicious snacks, hilarious script and passionate acting, I don’t think it could have gone any better. As a group, we performed a slightly confusing murder mystery, including a dramatic death scene and an extremely awkward love affair, full of laughter, odd props, missing sound cues and an extremely dedicated dead body (whom we kept accidentally stepping on). This all happened in the cosy first-floor Athenian Café corridor, and moving to the white studio for the second session only provided more space for more fun. PA Soc is perfect for anyone looking to laugh, snack and act with a hilarious and dramatic group of individuals. Every week, a script is chosen, parts are dished out, along with a hastily gathered selection of costumes and props from the department's various cupboard, and of course someone volunteers to do the honours of reading out the stage directions. And don’t worry if spontaneous acting isn’t your thing – it is perfectly fine to grab some lunch, enjoy some chocolate, and watch the drama unfold! - Tara
Being the Deputy Stage Manager is one the most high-stress but most rewarding roles in the tech team! (at least in my opinion) But in order to successfully be a DSM for a production, there are certain things you have to make sure you do. Anyone can sit and call cues out, but being a successful DSM takes much more than that.
What is a DSM?
DSM stands for Deputy Stage Manager, and their main role is to call the show. This means they know when every cue is meant to go. It is hard because you have to be looking at your script, the stage, and listening to your headset all at the same time. Practising calling the cues is good too. Calling a show takes precision and focus, as well as organisation. You have to make sure you know exactly what is happening, and where, for the entire show. It can be hard, but it is also very rewarding at the end!
What do you need to do?
A good DSM knows exactly who and what is meant to be on stage and when. It always helps to know which actors play which roles so that you can send the stage crew to look for them if need be. Getting to know the play is key to being able to call the show properly. You want to get to a point where you don’t need to look at your script much, you can just watch the stage and know when the call the cues.
What supplies you need
A script! Scripts tell you who’s on stage when, when they’re speaking, and when they exit. Pens! If you don’t have the cues marked in the script, you are not going to be able to call the show, no matter how good your memory is.
Highlighters! A good way to colour-code different types of cues. This can make for a neater script, which means a calmer DSM.
Lists! The cast list, mic spreadsheet, props tracker and cast tracker are good to have, to refer to if you hit any problems. The mic spreadsheet is most important in musicals and big shows.
You also need to keep as calm as possible. The rest of the team looks to the DSM for cues and advice. Remember, stuff goes wrong and people make mistakes – we learn from it and do better next time. We are all a team, and it’s good to look out for the people around you, no matter what role you play in the production.
I hope this guide is helpful. It is by no means a perfect guide, but it is advice that is hopefully useful to all future and current DSMs. Remember, theatre is fun, and it brings joy like no other, so enjoy it! -
ImaniCanons Park Women FC have just been given a new dressing room by the council. The only bad news is that it is in a state of disarray. As they begin to bring it back to life, they uncover a forgotten history of women's football in Britain. This stunning ensemble piece brings together students in Year 9 & 10 as they show off their wide range of acting abilities. Make sure to keep your eyes out for tickets and more promo coming soon! - Mr H
Look out for our final session of Scripts and Snacks this year after exam season! Keep an eye on your emails!
