- Sixth Form
When asked how I felt about the creation of Wellington 24, my succinct (and generally accompanied by an obnoxious Scottish accent) reply is always “absolutely brilliant!”. It was, in short, incredible. The process was unlike any other; working so closely with Rachel (Harper, the writer of Wellington 24) was a valuable lesson for many of us in the intricacies of playwriting. Few productions have ever created such a sense of ubiquitous, infectious camaraderie from the workshopping stages to the final performance.
Learning how to build parts of the set while on stage, creating percussion using spanners, impromptu songs which we sang long after the last performance; every aspect of the play was new, memorable. Rehearsals with Rachel meant we got to realise her vision on stage as closely as possible, while still having room to perform our characters in unique ways (for example, Ms Gutter’s decision that Evelyn was Scottish which led to a painful struggle to emulate Lewis Capaldi). Learning the upbeat songs and witty, fast-paced dialogue was so fun and refreshing and meant every rehearsal ended in fits of laughter, and translated itself to our final performances. Although we ended up knackered after every performance, there was a buzzing energy which carried us through every night. It’s inception beginning in the first workshop where Rachel asked us to carry chairs around the room while singing ‘Women in the Workman’s Boots’. Although confusing at the time, it started something which culminated in poignant performances, beneficial learning experiences, and brilliant memories.
By Karina (UVIJ)
Photography by Big Image.
- LEH Drama