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Twice postponed because of Covid-19, the 2021 School Play, an adaptation of the best-selling book, The Curious Incident of the Dog in the Night-Time, has finally been performed.

A cast drawn from Year 9 performed the play to their year group classmates in the morning and then again to parents, staff and visitors after school.

Crispin Bonham-Carter, Assistant Head (Pupil Involvement), said: “After all the disappointments surrounding the previous postponements, this was a good day, even though a couple of cast members still had to miss it because they were isolating: it was just fantastic to have live theatre taking place in the School once again, and for boys to have the opportunity to perform to an external audience.

“I pay credit to our resident Theatre Director, Gavin Malloy, for helping the boys construct such an impactful presentation of the story. Hopefully, the success of this production will inspire other pupils to get involved in drama opportunities, such as the free workshops that Mr Malloy runs.”

Based on Mark Haddon’s award-winning novel, the moving, darkly comic, and ultimately inspiring story centres on the challenges a boy with autism faces in navigating the world. It also explores themes of family breakdown and the mystery of who killed Wellington, the eponymous dog.

The performance captured the full dynamic range of the story, from the chaotic, disorientating noise and bustle of public spaces (with which the protagonist, Christopher Boon, struggles), and the outbursts of anger as the nature of the family breakdown is laid bare, to the intimate and emotional moments as Christopher’s parents try to explain what has been happening.

“All the acting performances were strong, but William Joanes, in the lead role, did a superb job, being on stage for the vast majority of the production. Appropriately for QE, his character gets an A* in A-level Maths before the play is out!” said Mr Bonham-Carter.

“The cast, technical crew and director were also brilliant, with the performance ‘in the round’ really drawing the audience into the heart of the action. The staging was particularly effective and was aided by the great work on the sound and lighting by Old Elizabethan Chris Newton, of School Stage.

“Well done all – it was worth the wait!” Mr Bonham-Carter added.

Year 11 boys had the chance to see one of their GCSE English Literature texts brought to life when they went to The Globe Theatre to watch an “exceptional production” of Romeo and Juliet.

During the visit – QE’s first live theatre visit since before the pandemic – all of Year 11 experienced a radical take on Shakespeare’s tragic tale of two young Italian ‘star-crossed lovers’ that eschewed romance in favour of an unsparing focus on mental health.

English teacher Micah King said: “I’m so glad our students got to enjoy live theatre after two years of disruption. They were able to experience an exceptional production of one of their GCSE texts, in a reproduction of the theatre it was originally performed in.

“Magic happened there: the students were simultaneously transported to Elizabethan era Verona, while the exceptional cast brought a 400-year-old play to life and made its themes modern and relevant to our 21st Century students.”

The performance, directed by the critically acclaimed young British theatre director, Ola Ince, explored the impact of emotional abuse and family feuds on the wellbeing of the eponymous lovers.

One notable addition to the Elizabethan-style architecture of the Globe Theatre was an electronic billboard at the back of the stage, displaying messages such as ‘20% of teenagers experience depression before they reach adulthood’ when Romeo is introduced ‘with [his] tears augmenting the fresh morning dew’, and “The rational part of the young person’s brain is not really developed until age 25”, displayed as Friar Lawrence marries Romeo and Juliet in secret.

Throughout the play, the boys stood in the theatre yard, or pit – the area which in Elizabethan times was the cheapest part of the theatre, with no seats provided. “This meant that sometimes the actors were moving between groups of students as they performed,” said Mr King.

The production, which stars Alfred Enoch as Romeo (best known for playing Dean Thomas in the Harry Potter film series and Wes Gibbins on the ABC legal drama television series How to Get Away with Murder) and National Youth Theatre-trained Rebekah Murrell, features modern sets and costume.

The Guardian’s reviewer, Arifa Akbar, who gave it four stars out of five, wrote: “…the love story is radically undercut and Ola Ince’s production is recalibrated to focus on Verona’s pervading social sickness and gang violence (there are not only knives but drugs and guns) as well as youth disillusionment and trauma.” She also praised the band as “the runaway highlight of this production”.

For his part, TimeOut’s Andrzej Lukowski’s said: “…I thought the billboard was an interesting idea in a mercurial show that often manages to be frustratingly dysfunctional and giddily fun at the exact same time….Essentially Ince’s desire to offer up two hours of hard-hitting social realism and two hours of wild escapist fantasy at the same time is not entirely reconcilable. Kitchen sink regietheatre* isn’t really a thing. But just because it doesn’t always ‘work’ doesn’t mean it’s not good: I loved the wild, irreverent roar of the ball [the scene in which Romeo first sees Juliet]; equally, I think Ince is on to something in choosing to earnestly highlight the number of references to suicide in the play – it seems quite reasonable to interpret the star-cross’d lovers as being depressed.”

* Definitions: Kitchen sink realism, which developed in the late 1950s and early 1960s, featured a type of social realism showing the harsh domestic lives of working-class British people. Regietheatre is the modern practice of allowing a director to determine how a play is put on, so that he or she need not adhere to the playwright’s specific intentions or stage directions.

Boys from Years 7–10 relished the opportunities offered to them during Enrichment Week 2021, when all four year groups were given a day off from their normal lesson timetables.

From the cerebral and scientific challenge of cryptography to the literary, emotional and rhetorical attractions of Shakespeare, the week featured a very diverse range of activities designed to be both stimulating and fun.

For Year 10, the brief was to work in groups to design and construct ‘wearable architecture’, using 6mm paper tubes.

Assistant Head (Pupil Progress) Sarah Westcott said: “The boys were asked to give consideration to form and structure. Many of the groups demonstrated good team-working skills, with some of them even managing to include moving parts.”

Year 10 were also involved in drama workshops that included performances of a heavily abridged version of Romeo and Juliet.

Year 7 enjoyed the chance to apply a little lateral thinking in an RAF cyber security challenge.  This STEM (Science, Technology, Engineering & Mathematics) activity involved tackling a series of cryptography and coding tasks and helping a company retrieve its stolen data from cyber criminals. Working in teams of six, the boys competed against each other and against the clock, battling to be the first to unlock the stolen data.

The task helped inform them about ‘phishing’ and other techniques used by criminals to compromise their targets’ data.

Originally the day was to be led in person by RAF personnel, but because of Covid restrictions, the School managed it virtually, starting the day with a live stream through YouTube in which the boys were given an outline of their tasks and an overview of the importance of cyber security. Funded by the RAF, the event was run in collaboration with the Smallpeice Trust, an educational charity promoting careers in science and engineering to young people.

“We wanted to raise awareness of digital careers, whilst developing students’ problem-solving and research skills,” said Dr Westcott. “Students found it challenging to work to time and benefitted from the need to think creatively to solve problems whilst coordinating their team’s efforts.

“The event was intended to give an insight into the types of skills required for careers in cyber-forensics. The boys discovered that it isn’t all about coding – you must be a collaborative member of a team and keep a cool head under time pressure, too.”

In addition, Year 7 flexed their vocal cords in a singing workshop, while Years 8 and 9 took to the countryside on their respective sponsored walks.

QE pupil Adithya Raghuraman has been declared the national joint winner of a prestigious Shakespeare performance competition – after live-streaming his entry from his bedroom.

Adithya impressed judges with his animated rendering of Brutus’s speech from the play, Julius Caesar, in which the orator and conspirator seeks to justify the assassination of the eponymous Roman dictator to the populace with the famous lines “…not that I loved Caesar less, but that I loved Rome more”.

Adithya made his inspired performance in the Grand Final of the English-Speaking Union’s Performing Shakespeare competition despite his plans being thrown into disarray when he, along with a number of his peers in Year 8, was sent home to self-isolate following a classmate’s positive lateral flow test.

Head of English Robert Hyland said: “His joint-victory is fully deserved, and a credit to all the hard work he has put in. Adithya is in my English class, so when I saw his preliminary performance, I knew we were looking at something good; in the preliminary round in December, he was the only student to score full marks – and that in a top-set English class. However, I don’t think we recognised then how good his performance was!

“In the Grand Final, in the face of considerable adversity, he showed maturity well beyond his years by delivering with real aplomb a demanding speech that combines high emotion with a strong appeal to reason. Performing in his room with no other audience than the computer in front of him, Adithya still made it feel like he was addressing the masses.”

In November 2020, all 192 Year 8 pupils at QE were asked to learn a Shakespeare speech by heart to perform in the classroom. They could choose any speech from all of Shakespeare’s 37 works. Speeches from Othello were popular choices – as a play pupils were studying at the time – and many of Shakespeare’s most famous monologues and soliloquies were performed, including Jaques’ “All the world’s a stage” from As You Like It, Macbeth‘s “Is this is a dagger that I see before me?”, and Hamlet‘s “To be or not to be”.

Teachers judged them according to the ESU competition’s criteria. “Even at the preliminary stage, the standard of competition was very high,” said Mr Hyland. “Remembering 25-30 lines of Shakespeare is in itself a powerful test of memory, but the idea of having to interpret it for the purpose of performance, and have the confidence to deliver it in front of your peers, is especially challenging. It is to the credit of the whole year group that they were able to rise to the challenge so successfully. This preparation was done without direction from teachers, or classroom rehearsal time, and the boys had full autonomy over their choices.”

The 12 best performers in the year were asked to record themselves delivering their speeches, and the top three videos were subsequently sent to the ESU for judging. “We were delighted that Ash Iyer received a judges’ commendation, and that Adithya was announced as a finalist – one of only two in London, and one of 22 from Years 7-9 in schools across the UK.”

The victory in the final was “reflective of Adithya’s wider ability in English, not only as a young man who has an extraordinary ability to infer meaning from challenging texts, but one who is able to communicate it through an almost flawless artistic expression,” said Mr Hyland. “He is a model for other students, both in his own year group, and in future year groups, of the standard that is possible.”

Adithya began his four-minute video submission by speaking of his enthusiasm for the “thrilling nature” of the play. He explained why he chose Brutus’s speech, rather than the still-more-famous monologue (“overvalued in my opinion”) of Mark Antony, which begins “Friends, Romans, countrymen, lend me your ears” and which follows immediately afterwards in the script.

Adithya said: “Brutus, who is one of Caesar’s dearest friends, is partly attempting to repair his reputation with the public and, I must say, he delivers such a thoroughly convincing speech that he has partly persuaded me to take his side of the argument.”

Immediately after his performance of the speech, from Act 3, Scene 2, the Grand Final’s online Master of Ceremonies, Jenny Stone, said: “I am convinced by that eloquent introduction: I shall be joining ‘Team Brutus’ from now on….good, good choice!”

He impressed a panel of judges comprising both actors and Shakespeare experts, which was chaired by Baroness McIntosh of Hudnall, former executive director of the Royal National Theatre, board member of the Royal Shakespeare Company and Deputy Speaker of the House of Lords. Adithya received personalised feedback from one of them, Peter Kyle OBE (former CEO of Shakespeare’s Globe, and currently chair of Shakespeare’s Birth Trust). He was “very impressed by [Adithya’s] introduction, setting out the speech in the context of the play”. Adithya made clear what he was trying to achieve and – then went on to achieve – said Mr Kyle. And he was “very convincing in role”, particularly for his “physical focus and direction of intent”.

Reflecting later on his triumph, Adithya paid tribute to Mr Hyland for his support throughout and said: “I had not expected to even get a ‘highly commended’, so this was too good to be true. I was overwhelmed, and it took me a few hours to let it sink in.

“From the competition I benefitted in many ways; I came out a more confident speaker with new ideas under my belt and also with more knowledge of the greatest playwright of all time.”

He hopes to participate in drama at the School in the future and in further external events: “I would love to take part in more of these competitions, maybe in a group next time, as they are a lot of fun.”

Founded in 1918, the English-Speaking Union seeks to promote better communication between people of different cultures and countries.

Brutus’s speech

Romans, countrymen, and lovers! Hear me for my cause, and be silent that you may hear. Believe me for mine honour, and have respect to mine honour that you may believe. Censure me in your wisdom, and awake your senses that you may the better judge. If there be any in this assembly, any dear friend of Caesar’s, to him I say that Brutus’ love to Caesar was no less than his. If then that friend demand why Brutus rose against Caesar, this is my answer: not that I loved Caesar less, but that I loved Rome more.

Had you rather Caesar were living and die all slaves, than that Caesar were dead, to live all free men? As Caesar loved me, I weep for him. As he was fortunate, I rejoice at it. As he was valiant, I honour him. But, as he was ambitious, I slew him. There is tears for his love, joy for his fortune, honour for his valour, and death for his ambition. Who is here so base that would be a bondman? If any, speak—for him have I offended. Who is here so rude that would not be a Roman? If any, speak—for him have I offended. Who is here so vile that will not love his country? If any, speak—for him have I offended. I pause for a reply…

Then none have I offended. I have done no more to Caesar than you shall do to Brutus. The question of his death is enrolled in the Capitol. His glory not extenuated wherein he was worthy, nor his offenses enforced for which he suffered death.

[Enter Mark Antony with Caesar’s body]

Here comes his body, mourned by Mark Antony, who, though he had no hand in his death, shall receive the benefit of his dying—a place in the commonwealth—as which of you shall not? With this I depart: that, as I slew my best lover for the good of Rome, I have the same dagger for myself when it shall please my country to need my death.

When the Spring Term lockdown forced a sudden end to rehearsals for the School play, QE’s young actors harnessed technology so that they could still perform to an audience.

With the help of QE’s resident Theatre Director, Gavin Molloy, members of the Year 8 drama club learned, staged and filmed dramatic monologues from home .

And, after weeks of preparation and practice, at the end of term, their highly varied work was revealed to classmates, staff and parents alike as the monologues went live.

Crispin Bonham-Carter, Assistant Head (Pupil Involvement) said: “The speeches were taken from a range of classic and modern texts by authors ranging from Charles Dickens to Michael Morpurgo. The boys went to great lengths creating costumes, props and backdrops in their own homes.”

The recorded Zoom videos were put together in an online showcase, which was watched in School by boys during form time and has now been published for parents on the School’s eQE online platform.

Fifteen boys took part in the showcase, which was split into two halves for the presentation on eQE.

Their selections drew on some of the best-known authors and stories from the history of English literature. Ash Iyer performed from Agatha Christie’s And Then There Were None; Soham Kale read from An Inspector Calls by J B Priestley; Simi Bloom picked one of Arthur Conan Doyle’s most famous stories, The Hound of the Baskervilles, and Adi Dhan chose Dickens’ Great Expectations.

But more modern authors were certainly not forgotten: Aadam Aslan’s monologue was taken from Michael Morpurgo’s Private Peaceful. Keon Robert performed from The Class, by playwright and Game of Thrones actor Luke Barnes, while Karan Somani performed an excerpt from Roy Williams’ play about boxing and racism, Sucker Punch.

One boy, William Joanes, read from the play that was postponed, The Curious Incident of the Dog in the Night-Time, based on Mark Haddon’s novel of the same name.

With lockdown over, full-scale rehearsals to put on this award-winning play resumed towards the end of term. It will be staged in June as the 2021 School Play.

With theatres across the land closed because of Covid-19, QE boys revelled in a rare chance to see live drama as part of this year’s Shakespeare Schools Festival.

Year 9 Drama Club members performed an abridged version of Hamlet – and thanks to QE’s year group bubble system, their entire year were able to watch the performance in the Main School Hall.

Afterwards, Assistant Head (Pupil Involvement), Crispin Bonham-Carter, praised the cast for putting on such an engaging production: “They told the story clearly, and it was genuinely moving. Something we will all treasure.”

The boys have spent weeks preparing for the Shakespeare School Festival (SSF). Their work included a special workshop before half-term led by Brian Mullin, an Artistic Associate with the Coram Shakespeare Schools Foundation (the organisation which runs the festival) and Gavin Molloy, of RM Drama (the company which provides drama direction for the School).

In normal years, QE boys join other schools to give their abridged performances at a special SSF evening at the Arts Depot in Finchley.

This year, it had originally been planned to live-stream performances, but in the end it was decided simply to have the boys perform live at the School, with Mr Bonham-Carter filming them.

Before the performance, Mr Bonham-Carter circulated a PowerPoint presentation to help tutors explore with their groups the famous revenge tragedy set in Denmark, which in its full form is Shakespeare’s longest play. He outlined the complex plot, which revolves around Prince Hamlet and his fluctuating desire for revenge against his uncle, Claudius, who has murdered Hamlet’s father in order to seize his throne and marry Hamlet’s mother.

Mr Bonham-Carter urged the boys to consider questions exploring the key themes of the play, including grief, madness and vengeance, and the complex, multi-faceted characters.

Hamlet is one of Shakespeare’s most quoted plays, with famous quotations including:

• Neither a borrower nor a lender be
• Something is rotten in the state of Denmark
• There are more things in heaven and earth, Horatio,
  Than are dreamt of in our philosophy
• Brevity is the soul of wit
• Though this be madness, yet there is method in’t
• To be or not to be, that is the question
• The lady protests too much, methinks
• Alas, poor Yorick! I knew him, Horatio: a fellow of infinite jest
• Goodnight, sweet prince,
  And flights of angels sing thee to thy rest!

On the day of the performance, which replaced a Year 9 English lesson, Mr Bonham-Carter introduced the occasion, saying that Hamlet is a “play for us all”.

He pointed out that, with theatres nationwide currently lying empty, the audience was very lucky to be able to see actors take to the stage live.

Mr Molloy, who directed Hamlet, said the play had received a great reception from the boys. The audience clearly enjoyed the bloody final fight scene, in which the young Danish Lord, Laertes, kills Hamlet in revenge for the deaths of his father and sister, only then to die himself, having been wounded with the same poisoned sword.

The actors were given a hearty round of applause by their classmates at the end.

“I am so proud of the boys, taking on this epic story and really making it their own,” said Mr Molloy.

Pandemic or no pandemic, the show goes on at QE, with a special Shakespeare Schools Festival (SSF) workshop held to help Year 9 boys prepare for next month’s performance of Hamlet.

Rehearsals for the play, which opens with the ghost of the King of Denmark instructing his son, Hamlet, to avenge his murder, are now in full swing at the School. During the workshop, boys rehearsed the fight in the bloody final scene during which the young Danish Lord, Laertes, kills Hamlet in revenge for the deaths of his father and sister, only then to die himself, having been wounded with the same poisoned sword.

To maintain the safety of QE’s year-group bubbles, all the actors for this year’s SSF production come from Year 9, while the festival itself will also be different, with every participating school’s performance live-streamed instead of being performed in front of a theatre audience.

Crispin Bonham-Carter, QE’s Assistant Head (Pupil Involvement), who is himself a former professional actor, praised the work being done in Year 9 to stage “Shakespeare’s greatest tragedy”, while adding that weekly drama sessions are taking place in Year 7 “developing the key skills of collaboration, timing, story-telling and – most importantly – having a great deal of fun!

“It’ll take more than a national pandemic to stop QE boys’ enthusiasm for drama,” he said.

Leading the workshop were Gavin Molloy, of RM Drama (the company which provides drama direction for the School), and Brian Mullin, an Artistic Associate with the Coram Shakespeare Schools Foundation (the organisation which runs the festival).

Mr Molloy said: “I am lucky to have such a keen cast from Year 9, with a mature and ‘can-do’ way of working. They perform well together, working as an ensemble. I am very excited with what is to come.

“It’s a little different this year, as obviously we are working with some limitations: our version of Hamlet will not be performed in front of a live audience, but rather on a live video feed to the Shakespeare Schools Festival on the evening of November 20th.”

But, he said, progress to date has been strong, with all boys involved already having gained an understanding of the plot of Hamlet. Asked what the themes of the play were, the Year 9 boys instantly responded: “Revenge!”, “Murder!”, “Madness!” “Power!”

“I added to the list by saying it’s also a play about grief. A son who loses his father, and how devastating that is for him. I also tell them it’s what The Lion King is based on!” said Mr Molloy.

“We have a totally blank canvas and are working collaboratively with thoughts, ideas and production decisions. We share ideas, talk about productions we may have seen and also discuss how we will need to make a lot of character choices as we have only 30 minutes to re-tell probably the most famous story in literature, as we are working with a heavily cut-down script for the festival.

“The boys have also been having some fun learning of the double meanings of some of Shakespeare’s dialogue. I am very excited with what is to come. The play’s the thing!”

The final photo (right) shows a recent bonding exercise in the Year 7 Drama Club.

Members of the cast for QE’s forthcoming 2020 School Play enjoyed the opportunity to see a critically acclaimed London production and to meet both an actor and a stage director.

Year 8’s Girish Adapa won the group’s trip to the sold-out production of Albion at the Almeida Theatre in Islington as the prize in a Christmas quiz in The Day, an online daily newspaper for teenagers.

Albion, by Mike Bartlett, is a play is about nostalgia and national identity. It has widely been seen as a Brexit allegory.

The actor who met the QE group after the performance was Helen Schlesinger, known for her work with the Royal Shakespeare Company. In Albion, she plays a novelist who is the friend of the chief protagonist of the play, giving a performance described by the Telegraph’s theatre critic, Dominic Cavendish, as “brilliantly wafting”.

The boys asked her questions about: acting techniques; the career progression of an actor; managing rejection and stress; the relative merits of stage and screen work; working with directors and other actors. and getting into character.

The trip was organised by Assistant Head (Pupil Involvement) Crispin Bonham-Carter and Gavin Molloy, from QE’s external drama partners, RM Drama.

The boys, many of whom will be involved in this year’s School production of Dr Jekyll and Mr Hyde on 25th and 26th March, were also given the opportunity to meet Almeida’s Stage Manager, Linsey Hall, who answered their technical questions on how long it took to build the set, the practicalities of using real plants on the stage, and how they drained water from the grass.

Head of English Robert Hyland, who accompanied the QE pupils, along with Head of Library Services Surya Bowyer, said: “The boys thoroughly enjoyed the trip – it was a valuable experience to see a professional play of this calibre. I found the production intensely powerful: it’s a play which resonates with the ‘now’ of British society in a rich, thought-provoking, and emotionally moving way.

“I know that many of our boys were taken aback by the force of the performance, and the complexity of the message behind it,” added Mr Hyland. “It’s a really rare opportunity for them to be able to see a play with such high production values, and even rarer to be able to meet members of the cast and production team after the show. The questions asked by students were probing and reflective, both from the perspective of performance and stagecraft, and from the perspective of meaning and metaphor.”

Girish, whose quizzing skills led directly to the outing, agreed with Mr Hyland’s assessment, saying the play was “very moving”.

Boys gained an invaluable fresh insight into their GCSE set English texts when a visiting theatre company staged two plays, along with innovative interactive workshops.

The Say Two Productions company performed Romeo and Juliet – a set text for Year 11 pupils – and J B Priestley’s An Inspector Calls, which Year 10 are currently studying.

Head of English Robert Hyland said: “The majority of time in class has been spent looking closely at the linguistic and thematic features of the texts in a purely literary context. It is really important for the boys to be able to appreciate how the literary foundation of the classroom translates into the dramatic sphere of performance if they are to maximize their understanding of the texts.”

In addition to performing the plays, the accompanying workshop programme involved hot-seating – where a character in a play is questioned about his or her background, behaviour and motivation.

“Ordinarily in a performance, the audience and actors are kept separate. On this occasion the workshops led by Say Two were innovative in the way the company really encouraged students to engage in the process of understanding how the page translated to the stage, and the theatrical purpose of Priestley’s and Shakespeare’s writing,” Mr Hyland added.

Jeshvin Jesudas, of Year 10, praised the interactive way in which An Inspector Calls was shown and the hot-seating, which, he said, “helped us to understand how the characters actually felt and gave us a greater and wider understanding of the play”.

The boys were also encouraged to speak out the dialogue from various scenes and to consider the relationship between the characters and how the characters perceived themselves.

For Romeo and Juliet, an interactive staging in costume of the Capulet Ball (Act 1, Scene 5) and of the sword fight between Romeo, Mercutio and Tybalt (Act 3, Scene 1) helped show Romeo’s progression through the text, proving popular with the boys.

Sajeev Karunakaran, of Year 11, said: “It was a very enjoyable performance that expanded my knowledge of the play. I enjoyed the open discussion on the key themes of the play, and the best parts were the interactive activities like the sword-fighting.”

The staging of both plays sought to engender greater insight into the key themes. “The aim was to aid students in their understanding of the set texts as dramatic texts, in addition to simply being academic texts to be studied as literature. Students can hugely benefit in their understanding of the plays if they understand the stagecraft and can anticipate the audience reaction,” added Mr Hyland.

Afterwards, several of the boys gave their views on Say Two’s visit:

• Jai Patel, one of the Year 10 pupils who participated in the workshop for An Inspector Calls: “It was a very detailed insight into the actions and morals of the characters, showing text character development as the play progresses.”
• Umer Saad Rahman, of Year 10: “It clearly showed the development of the characters and helped to improve my understanding. It was very interesting and interactive.”
• Chakshu Chopra, of Year 10: “The performance was extremely engaging, and it portrayed many themes that we learned in class. Watching the performance helped me understand more and really brought the ideas and theories we learned to life.”
• Dylan Domb, of Year 10, enjoyed seeing the twists and turns of the narrative happening right in front of him.
• Jao-Yong Tsai, of Year 10, felt the production helped to show the recurring themes more clearly and to illustrate the deep ironies and contradicting views in the play.
• Ansh Jassra, of Year 10: “I was able to achieve a greater understanding of the interactions between the characters, which, in turn, aided deeper analysis of the stage directions.”
• Daniel Rodrigues, of Year 11, thought that the actors helped the audience further understand the plot and he enjoyed a very “immersive experience”.
• Athiyan Chandramohan, of Year 11, felt the occasion was informative, helping him understand the themes of the play much better.

QE’s actors tackled the challenging issues in one of Shakespeare’s most controversial plays head-on in their production of The Merchant of Venice.

Shakespeare Schools Festival organisers at Finchley’s Art Depot praised the abridged QE production, which involved actors from across the year groups.

And Assistant Head (Pupil Development), Crispin Bonham-Carter, in turn, lauded Gavin Molloy, from QE’s external drama partners, RM Drama: “Our excellent theatre director-in-residence updated the story with an edgy, modern, Italian urban setting, which made the anti-Semitic storyline all the more shocking and relevant. Our mixed-aged cast really rose to the occasion.”

“Rivu Chowdhury, as Shylock, found real depth and nobility in this complex and tragic role,” added Mr Bonham-Carter, who was himself a well-known professional actor before becoming a teacher.

“He was ably balanced by the cruel exuberance of the young ‘Christians’ – Antonio, played by Sathujan Manmatharajah, and Bassanio, played by Maanav Patel, were both particularly convincing young hoodlums strutting around in their black leather jackets.” All three actors are in Year 13.

“George Raynor, of Year 12, caught Portia’s humanity as well as her steely intelligence, dealing calmly with a minor wig issue in the second half…”

He highlighted “notable performances” by Paul Ofordu and Ethan Solanki (both of Year 11) as “the arrogant losers – the dancing princes of Morocco and Arragon respectively.

“The whole cast of 23 were praised by the organisers for their team-work, their physical focus and the clarity with which they spoke and understood their lines,” said Mr Bonham-Carter.

Before staging the performance, the whole QE cast took part in a workshop at the Arts Depot led by professional Shakespeare Schools Festival staff.

Mr Bonham-Carter, who took up his post at QE in September, added: “The best part of my role as head of pupil involvement is seeing our young men responding creatively under pressure. Whether being interrogated in a debate, lost on a Duke of Edinburgh hike, or performing Shakespeare in a live theatre, our boys are learning through ‘real’ experiences such as these that, with good preparation and a can-do attitude, they can do anything!”

QE were performing alongside productions from Haberdashers’ Aske’s Boys’ School, Swiss Cottage School (a special school in Camden), and La Sainte Union Catholic School.