Page 137 - Gonzaga at 60
P. 137
DRAMA IN 2010 Men. What I was not anicipaing, however, is the truly
phenomenal, widespread commitment to the producion.
The opening of the new theatre in Gonzaga makes visible Here, one must turn atenion to the art department
something that has always been at the heart of the of the school. It is impossible to over-esimate the
school life: the importance of dramaic art to the pupils’ contribuion of Darragh O’Connell (pictured above with
educaion. As an English teacher, one can lead discussions Siobhan Keogh) to the success of the play over the years,
on a play, invite responses and engage their imaginaions; who enables the director to work with absolute focus on
as a drama teacher, one can direct the unique abiliies the cast conident not only that what is needed will be
of each and every student and create something brand provided, but that it will be undoubtedly beauiful. Even
new. Outside of the classroom, drama involves the pupils a year where no stage is available presents him with an
in an immediate and spontaneous event, where they can opportunity rather than a problem, convering the dining
combine physical and intellectual understanding and give hall into a gallery of monumental expressionist ine art for
a full expression of themselves. Danton’s Death. A total-theatre experience is only possible
This has tradiionally made manifest in the annual when the stage design supports the performance; I am
Sixth Year Play – the occurrence of this in the pupils’ overwhelming lucky to have such talent at my disposal,
inal year relecing the idea that the performance is whereby the early design discussions with him are not
in a sense summaive of their ime in the school. It is a only a pleasure but inevitably expand my understanding
tradiion whose signiicance is relected as much in the of the whole aestheic of the play. Most astonishingly, the
enthusiasm devoted to it as the scruiny to which it is inished product seems to efortlessly emerge six weeks
upheld! Audiences assemble beyond the student body to later from the tardis-depths of Room 19!
staf, parents, past pupils; it becomes the dominant topic Of course, such exquisitely evocaive sets need worthy
of discussion for weeks around the actual performances. performances...
Being gited the mantel in my irst year in Gonzaga
was a dauning prospect – I myself was brought to the Caroline Staunton
producions of my older brothers’ years in the school, Caroline has taught English and been involved in Junior
and have vivid memories of the powerful performances Debate since 2005. She has been Director of the Sixth Year
and innovaive staging of Reginald Rose’s Twelve Angry Play since 2007
phenomenal, widespread commitment to the producion.
The opening of the new theatre in Gonzaga makes visible Here, one must turn atenion to the art department
something that has always been at the heart of the of the school. It is impossible to over-esimate the
school life: the importance of dramaic art to the pupils’ contribuion of Darragh O’Connell (pictured above with
educaion. As an English teacher, one can lead discussions Siobhan Keogh) to the success of the play over the years,
on a play, invite responses and engage their imaginaions; who enables the director to work with absolute focus on
as a drama teacher, one can direct the unique abiliies the cast conident not only that what is needed will be
of each and every student and create something brand provided, but that it will be undoubtedly beauiful. Even
new. Outside of the classroom, drama involves the pupils a year where no stage is available presents him with an
in an immediate and spontaneous event, where they can opportunity rather than a problem, convering the dining
combine physical and intellectual understanding and give hall into a gallery of monumental expressionist ine art for
a full expression of themselves. Danton’s Death. A total-theatre experience is only possible
This has tradiionally made manifest in the annual when the stage design supports the performance; I am
Sixth Year Play – the occurrence of this in the pupils’ overwhelming lucky to have such talent at my disposal,
inal year relecing the idea that the performance is whereby the early design discussions with him are not
in a sense summaive of their ime in the school. It is a only a pleasure but inevitably expand my understanding
tradiion whose signiicance is relected as much in the of the whole aestheic of the play. Most astonishingly, the
enthusiasm devoted to it as the scruiny to which it is inished product seems to efortlessly emerge six weeks
upheld! Audiences assemble beyond the student body to later from the tardis-depths of Room 19!
staf, parents, past pupils; it becomes the dominant topic Of course, such exquisitely evocaive sets need worthy
of discussion for weeks around the actual performances. performances...
Being gited the mantel in my irst year in Gonzaga
was a dauning prospect – I myself was brought to the Caroline Staunton
producions of my older brothers’ years in the school, Caroline has taught English and been involved in Junior
and have vivid memories of the powerful performances Debate since 2005. She has been Director of the Sixth Year
and innovaive staging of Reginald Rose’s Twelve Angry Play since 2007
