Trinity Grammar School, Kew and Ruyton Girls’ School Senior School Play
Based on the novel by William Golding, adapted for the stage by Nigel Williams.
MARCH 2020 Parents’ and Friends’ Hall, Trinity Grammar School, Kew
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Director’s Message
From the Head of Drama
This year, the Trinity and Ruyton senior students will be using Lord of the Flies as a vehicle to explore the concept of ‘Moral Ecology’. William Golding’s menacing work examines the strategies that our species might use to succeed in an ungoverned environment. In the modern world we apply labels of ‘good’ and ‘evil’ to behaviour we deem acceptable or not acceptable. In this play we ask you, the audience, to instead assess each strategy that characters use to determine where strength and weakness can be found in a societal group. What attributes are most valuable for survival? The play is synonymous with images of young school boys from yester-year breaking societal norms and creating their own versions of society. But what happens if we fast-forward to 2020 and shift the focus to modern Australian culture? How does the story differ with the inclusion of more than one gender? Will the result be the same? Finally, we look to provide an environment to pose the question; does natural selection have an influence on our species? This play has been a platform to workshop three distinct styles of theatre; Naturalism, Surrealism and Theatre of Cruelty. Keep a keen eye for students utilising the following methodologies in their performance. Students performing in the style of Naturalism will attempt to recreate the impression of reality. Writers of naturalistic theatre were often influenced by Charles Darwin’s theory of evolution. Lord of the Flies is the perfect conduit therefore to pose the question that one’s heredity and social environment determines character and actions. Aspects of the play exploring the more confronting aspects of our human nature call heavily on the conventions of surrealism. Surrealism often deals in values of surprise, abstract, the unexpected and horror. Look for stylised scenes containing a soundtrack discordantly paired with action and movement. Finally, the conventions of Theatre of Cruelty have been employed through the use of lighting and sound as tools of sensory disruption. Theatre of Cruelty works to create a primitive ceremonial experience intended to liberate the human subconscious. At times throughout the play, the actors aim to subvert the audience through thought and logic and to shock them into seeing the baseness of our own world. Finally, I would like to extend my utmost gratitude to all the cast and crew who poured hours of passion and love into this project. I feel incredibly privileged to have led a team with such diverse talent that has enabled the final result. This year we have faced much adversity, both as a whole and also as individuals. I am so proud to be a member of this Drama community and so thankful they have allowed me to share and drive my vision for this play to this point.
It has been a privilege to join the Trinity community this year. From the moment I stepped foot into the school it was apparent that the co-curricular Drama program was incredibly valued and appreciated. This has been evident throughout the rehearsal period for Lord of the Flies and it has been wonderful to observe the Drama community in action over the last two months.
Stewart Lucy
Ryan Bowler
Director
Head of Drama
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With the current situation of COVID-19 and the world’s response, it has certainly been a trying and testing time. Lord of the Flies has not escaped this situation and unfortunately, for reasons beyond anyone’s control, plans had to change. As our director, Stewart Lucy was addressing the cast and crew about the changes that had to take place, there was of course an atmosphere of disappointment. But this atmosphere was also filled with a clear understanding of the situation in which the play had found itself. Our young people demonstrated the opposite to what their characters show when faced with adversity. They banded together as a Drama community to support, comfort and guide each other through this challenge. For this, they are to be commended. Our cast and crew are to be congratulated on their performance. It is rare to be truly moved by a piece of theatre staged at a school level, but this Lord of the Flies is different — it feels different, it looks different — it’s special. I wish to acknowledge our director, Stewart Lucy. What Stewart has been able to achieve amongst this cast of young people is truly remarkable. Supporting Stewart, Remy Graham-Throssell has been an adept assistant director and has brought a wealth of his personal expertise in theatre and performance. Spencer Hines as our phenomenal Production Manager has continued to ensure everything is on track and all of the boxes have been ticked. Yvonne Vas as our Costume Coordinator has brought visual life to this play and Rebecca Cecil and James Parry have expertly assisted all aspects of the production. The saying goes that ‘it takes a village to raise a child’. A production is like a giant child and there has been a willing and dedicated village to support its upbringing. While I cannot express my personal thanks to everyone in this message, our thanks as a department are expressed later in the program. The old adage ‘the show must go on’ has never been more important. However you are going to watch this show, whether it be live or via film, please enjoy.
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Synopsis Following a plane crash that leaves them deserted on an isolated island, a group of Australian school children are left to govern themselves. Whilst Ralph and Piggy attempt to lead the group towards stability on the island, they face sedition from Jack and her choir, and the ever-looming threat of a beast, hidden in the depths of the forest. Lord of the Flies provides an exploration of human nature, harshly juxtaposing the expected desire for order and harmony, and the unforeseen escalation towards violence and savagery. Through the eyes of children, the audience is forced to question what lies within our shared humanity.
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Cast Ralph Nick Fallaw
Jack Charly Oakley Piggy Anton Ruiz-Pedley Simon Ben Allen Roger Cinque Howells Maurice Maya Wilmshurst Sam Murray Lovass Eric Gabi Brown Bill Zoe Boussioutas Henry Morgan Payne Perceval Ella Callow-Sussex Naval Officer Will Campbell
Ensemble
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Mia Avram
Dex Kelly
James Blanch
Archie Shaw
Harry Bland
Henry Smith
Hugh Craig
Lara Tricarico
Jessica Currie
Aden Wilmshurst
Ally Denovan
Lily Willmott
Reece Harrison
Dorothy Ye
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Production Team
Director Stewart Lucy Ensemble Director Remy Graham-Throssell Production Manager Spencer Hines Stage Manager Ryan Bowler Production Assistant Rebecca Cecil Assistant Director Hair and Makeup Design
Production Assistant James Parry Assistant Director
Technical Director Luke Dixon
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Assistant Technical Manager Will Deed Costume Manager Yvonne Vas Set Design Andrew Plant Sound Design Floyd Graham-Throssell Specialised Props Design Brett Rothnie Backstage Assistance Gillian Scrimgeour
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Student Crew Assistant Stage Manager
Lighting
Nick Molnar
Backstage Thomas Arbon Liam Common Adriaan den Hartog Annabel Maher Juliette McLean Campbell Reeve Hamish Szegi
Front of House
David Chong Alvin Doan Lewis Finney Owen Greyson Ben Zhou Charlotte Sammartino Coco Shang Jayden Spring Ivy Wang Emma Wong Archie Vickers
Timothy Crichton Yuki Hua Charlie Limmer
Makeup and Hair Tom Bowman Grace Wen Steven Vas
Costumes
Sound Ben Robison
Esther Juebner Cale Martin Phoebe Whitehead
Special Props Design Ben Allen
Parent Helpers Front of House Carole Blanch Gabrielle Baron Simone Lovass
Makeup and Hair Carole Blanch Jackie Chase
Acknowledgements Artifishal Studios; Ben Fon Photography; Cassie Cooper; Darcie Kane-Priestley; FODAT – Friends of Drama at Trinity; Jenny Whiting; Julia Prestia; Mairead Rodgers; Mark Lauber; Mollie Farrell; Samantha Simpson; Tearlach Wales – True Story Wedding Films; Trinity Maintenance Department; Trinity Sport Department.
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Published by and licensed from Faber & Faber Ltd.