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The Wellington College Theatre Collective returned with triumphant spirits and creative fervour from their recent journey to the Edinburgh Festival Fringe, where they showcased their talent in not just one, but two remarkable student productions. From August 5th to 10th, this vibrant group of young performers made their mark on one of the world’s most prestigious theatre stages with their evocative performances of Blood of My Father and Dionysa.
Before embarking on their Edinburgh adventure, the pupils returned to Wellington College on July 31st for an intensive re-rehearsal session, fine-tuning both shows to ensure they were Fringe-ready. Their dedication paid off as they set off on Sunday, August 4th, staying at Pollock Halls, University of Edinburgh, and immersing themselves in the festival’s electrifying atmosphere.
During their week-long trip, the collective distributed over 2,000 flyers to promote their shows, ensuring they reached a wide audience. Between performances, they indulged in the festival’s diverse offerings, watching 15 shows that ranged from illusionists and political dramas to clowning, musicals, improvisation, Shakespeare, immersive theatre, and even pro wrestling. This exposure not only broadened their theatrical horizons but also enriched their own performances.
With over 400 attendees across the six performances, the Wellington College Theatre Collective’s week at the Edinburgh Festival Fringe was met with enthusiasm and acclaim. The feedback from both professional reviewers and audiences has been overwhelmingly positive, and we couldn’t be prouder of our students’ achievements.
Blood of My Father, written by Darcy Hogan, reimagines Sophocles’ Electra in a modern context. This dark crime-thriller explores the complexities of family relationships under intense scrutiny. The play received glowing reviews, including a detailed critique by Hannah Goldswain:
Review of Blood of My Father by Hannah Goldswain
★★★★☆
“It’s complicated. In the pressure cooker of an interrogation room after a murder, one thing becomes clear in the web of lies. It’s complicated. Performed by the Wellington Theatre Collective at the C aquila-temple, Blood of My Father is a twisted, spiralling drama based on Sophocles’ Electra. It combs through fraught family relationships and how these shift as others intervene. Well written by 16-year-old Darcy Hogan, Blood of My Father is a masterclass in storytelling and deception.
C aquila provides an intimate space for the dark crime-thriller that becomes suffocatingly smaller as Officer Pallas (Tejus Thorpe) probes suspects on the death of Agamemnon (J J McAllister). As tensions rise and the hours in the day creep by, layers of the story are revealed, dissected, and assembled as the Greek tragedy comes to life in the modern day. The performance gently probes topics from abuse to sexuality and mental health, handling them deftly within the storyline. Commanding in his role as the detective, McAllister controls the narrative, allowing the re-telling of events that led up to the murder.
The play centres around the Pathos family and the complexity of their past. The two children, Electra (Darcy Hogan) and Orestes (Ralph MacFadyen), are cautious, untrusting characters. Their stories twist and evolve, and as their mother (Izzy Harvie), her new partner (Felix Zamoyski Freitag), and their father (McAllister) come to the forefront, the stories become ever more convoluted. They dip and swerve, each as convincing as the last, leaving the audience waiting with bated breath to find out what will be revealed next and to sift through the deceit.
Bringing a Greek tragedy into the modern day is no mean feat. Initially, it feels a bit heavy-handed. Several Greek names are reeled off out of context, leaving people unfamiliar with the original text a little baffled. But gradually, the play takes form and as different characters add their side of the story, the momentum only picks up. Each performer excels in their role, with compelling acting leaving you torn on who and what to believe. Complete with haunting music lingering in the background, and the juxtaposition of fractured scenes, the fast-paced Blood of My Father captures the attention of the audience to the full.
At times almost melodic, the script is nuanced and punchy. Adding to the atmosphere is the presence of the entire cast onstage for the majority of the performance. Their interactions are fluid and help to build up the narrative, escalating the tension and solidifying the network of relationships between individuals.
Relatively simple staging maintains the intricacy of the performance without overdoing it. It gives the actors room to fill the space, and they do so with confidence and striking talent. Like a true whodunnit, the audience are sucked into the entwining lives of the characters and at the culmination of events, are not disappointed. The aim is to keep the audience guessing as things unravel, and although nuance gives the performance depth, at times it gets a little over-complicated. Clever twists are there, but so are dangers of losing the audience with too many layers to an already intricate plot.
But with an entrancing performance, The Wellington Collective deliver an unnervingly tense family drama. With all of the cast younger than 18 years old, their future is bright and I can’t wait to see what they do next.*
Dionysa, penned by Sophie Laithwaite and co-directed with Clare Anderson, offered a fresh take on Euripides’ The Bacchae, set in the vibrant 1920s. By gender-swapping the titular character to Dionysa, the production provided a contemporary twist on the ancient text. Caroline Worswick’s review captured the essence of this creative adaptation:
Review of Dionysa by Caroline Worswick
★★★★☆
“I am on a roll with Greek tragedies at the 2024 Edinburgh Fringe Festival, and the Wellington College Theatre Collective’s take on Euripides’ The Bacchae is interesting. The company have loaded the play into a time machine and moved it into the 20th Century, 1920 to be exact. This play written by an Athenian playwright was set in Thebes, this remains the same, but we have a gender change, as the original play is based around Dionysus, a Greek god (also known as Bacchus to the Romans), of whom was originally a Thracian god, later adopted by the Greeks. This gender change makes Dionysus become Dionysa!
The basic storyline is that Dionysa (Cressida Massey-Cook) is a god, born from a union between her father Zeus and her mortal mother Semele. Dionysa is enraged, as there are gossip mongers in Thebes spreading a rumour that Dionysa is not a god, suggesting that her mother was pregnant not from her liaison with Zeus, but from a mortal man. Dionysa inhabits Thebes disguised as a mortal, ready to take revenge on its people. After crossing swords with Pentheus (Sam Gearing), who wants to set down laws to bring Thebes under control, Dionysa sets about manipulating him so that he will come under her control, and the city of Thebes will dance to her tune.
The spirit of the performance is delivered in dance and a dramatic script written by Sophie Laithwaite, also co-directs the play with Clare Anderson. The 1920s is an excellent choice, as the music is uplifting, and the costumes designed by Jennie Douglas are flamboyant and match the theme of the play. The time travel works well, and the choreography has been well thought through. This is a young company, and they seem to enjoy the experience, and this comes through in their performances. Even though the gender and time period have changed, the well-written script copes with this, and accompanied by all-around good performances, the company can congratulate themselves on producing an excellent play. Dionysa herself (Massey-Cook) is a strong lead and carries off the role with confidence. This play only has a short run, but if you enjoy Greek tragedy, and wish to encourage a young theatre company, then this play is well worth a look.*
For those interested in reading more about the productions, detailed reviews can be found on the Edinburgh Festival Fringe website:
Blood of My Father | Theatre | Edinburgh Festival Fringe (edfringe.com)
Dionysa | Theatre | Edinburgh Festival Fringe (edfringe.com)
We look forward to seeing where the future takes our talented Theatre Collective and we are excited for the many more stories they will tell and stages they will grace in the years to come. Congratulations to everyone involved for making this a truly unforgettable experience!
