Rhubarb 2021

ST EDWARD’S

and knowing the technical support we would get. I am generally both stubborn and foolishly optimistic by nature so we went for it – but on the understanding that there would be limitations. For example, I had to reduce the cast size to 15; by careful negotiation this became 16 (on the basis that numbers would be limited on stage at any one time). Rehearsals and performances were strictly controlled with blocking dictated by social distancing.We did not know if our audience would be live or virtual.We were always acutely aware that an outbreak of Covid would jeopardise everything. Funnily enough, all these constraints enhanced rather than restricted us, and we discovered creative solutions together to the problems of staging in a pandemic. Let’s call it serendipity; it all worked out – the Puritans probably invented social distancing so visually the spaces on stage were entirely appropriate, and we used theatre trickery to give the illusion of physical contact when we needed it. What was the highlight of the experience for you? The performances were extraordinarily powerful and moving. However, the process is what I will remember most. The cast showed remarkable resilience, creativity and humour. After the initial surge of enthusiasm, there are always a number of problems and eventually a big dose of doubt when producing a play but we always pretended it was okay and stayed positive; somehow we were right. You left Teddies as a pupil in 1986.What have you done since? After making the rather predictable Teddies journey to Exeter University, I took a left turn and went to live in Trinidad for 12 years, working as an advertising creative, whilst also running a theatre company and serving in the church.When I returned with my family to the UK in 2004,

I decided to go into the “family business” and become a teacher ; my Uncle Robert (MCR, 1973-2003) (former HM of Field) was delighted and said he always knew I would. I worked in the state sector for 12 years before returning to Teddies, much to my surprise.

What is your favourite memory of your schooldays at Teddies? One of the great memories I have is of the School production of Equus which I saw as a Shell in the New Hall, which has just been replaced by the Olivier. It was quite groundbreaking at the time and a brave choice by

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director Simon Taylor (MCR, 1969-1985) who also taught me English, an inspiring man. Most of the other good memories I have are about life in Segar’s with my HM Malcolm Oxley, another theatre person, who also introduced me to grappa on a school trip to Sicily. Not the sort of thing one does nowadays! How has Teddies changed since you were here as a pupil? I think both Teddies and I have changed quite radically since then.The arrival of girls while I was here was an incredible catalyst, and most welcome.The School is more co-educational and much more dynamic now. Luckily for me,The NorthWall puts us at the forefront of teaching drama. However, the essence is still the same – a lack of

pretension and a spirit of inquiry and non-conformity pervade the School.

To watch the production of The Crucible 2020, click her

OSE Tom Chamberlin (Kendall, 2000-2005) who played John Proctor in the 2004 production of The Crucible , watched the play virtually with fellow OSE Emilia Clarke (Corfe, 2000-2005) and Pippa Bennett-Warner (Oakthorpe, 2001-2006). Here he talks about the 2020 production:

The Crucible is a tense and unfiltered cautionary tale.When I played John Proctor in 2004, it was, alas, as appropriate an allegory for the times as it is today. I was fortunate to have performed with a formidable cast, including Emilia Clarke as Abigail, and Pippa Bennett-Warner as Elizabeth.This cast are sure to go onto equally terrific things in whatever field they choose, hopefully some of them in the arts. As much as these were large shoes to fill, Abi Drennan (Avenue, 2016-2020) as Abigail was cold, assertive and unflinching, while Jenifer Ellis (Corfe, 2017-present) as Elizabeth brought all the reserved, anguished nuance needed from start to finish. All the

courtroom characters, such as Danforth and Hale, took the darkly comic absurdities off the page perfectly. As for Will Cruddas (Sing’s, 2020-present) as Proctor, well, it is a titanic role that he tackled with aplomb. It was a bold, assertive, commanding performance that never miked it, in a way I fear I might have done. I think everybody involved, including director David Aldred, should be extremely proud. The Crucible 2020

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