Grammar Gazette- Issue 2, 2013

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THE CHOSEN

ARTICLE

MS JOANNE MARTIN, DIRECTOR, THE CHOSEN HEAD OF DRAMA

AUTHOR

FOR THREE NIGHTS IN MID–AUGUST, THE SENIOR DRAMA COMPANY STAGED MR LACHLAN PHILPOTT’S COMMISSIONED PLAY THE CHOSEN TO PACKED HOUSES. THE GIRLS HAD WORKED TIRELESSLY AND CREATIVELY TO BUILD A POLISHED, ENGAGING AND THOROUGHLY ENJOYABLE PERFORMANCE, AND THEY WERE THRILLED TO FINALLY SHOW THEIR WORK TO AN ENTHUSIASTIC AUDIENCE. LACHLAN WAS IN THE AUDIENCE ON OPENING NIGHT AND WAS TRULY AMAZED BY THE SKILLS OF THE GIRLS AND THE QUALITY OF THE PRODUCTION.

Back in May 2011, the Senior Drama Company staged Lachlan’s play Bustown . The playwright came to view the final show and in post–show discussions the idea of Girls Grammar commissioning him to write an original play script was developed. The School was very interested in building this partnership with such an acclaimed playwright, and a framework was developed that involved Lachlan spending many Friday afternoons throughout 2012 with the then Year 11 Drama students developing ideas, storylines and characters. By the end of 2012 the first scenes were written. By early 2013 a first complete draft was available, and the audition and rehearsal process began. Lachlan’s engagement with the students was built on a genuine desire to hear their ideas and opinions and to deepen his understanding of the machinations of the teenage–girl dynamic. The characters in this play are heightened and stylised in many ways, but we understand them and recognise their fears

and doubts — we care for them. They are more complex than most teenage drawings, and provided the student actors with plenty of scope for the development of engaging characterisations. While creating a play can be a serious and complex process, Lachlan brought a joy and light–heartedness to this project. He shared the scaffolding of his craft and insights into the development, editing and refinement of a play script. In theatre making, there is a constant flow of questions that must be resolved by all involved — playwright, designers, director and actors — that are never really locked in until the final moments before the audience enters the theatre. It is a dynamic ongoing experience of ‘staying in the grey’ — of working with great energy and conviction without holding all the answers — and trusting in the process. Not knowing the answers leads to an organic process that truly reflects on all the individuals involved.

GRAMMAR GAZETTE