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By David Anson, Head of English (Bedales Senior)
People often talk about Bedales as a school known for its drama and creative arts. They mention our award-winning Olivier Theatre, our productions and the standard of performance. While that is always gratifying to hear, what matters most to those of us involved is not the finished show alone. The production that audiences see over a handful of evenings is the culmination of months of collaboration, creativity and commitment from students and staff across the school.
This year's production, The Witchfinder's Daughter, was particularly special because it was entirely home grown. The story began not with a published script but with a novel I had written after attending an Arvon writing course with Bedales students several years ago. During a school trip to see The Lion, the Witch and the Wardrobe last autumn, Georgie Nugent, our Head of Academic Drama, suggested that it could become our next school production. Over Christmas, I transformed the novel into a stage play.
That was only the beginning.
One of the pleasures of creating an original piece is that no one person owns it for very long. As soon as the script existed, it became a genuinely collaborative project. I had created the world and the story, but Georgie immediately began imagining how it might live on stage. Together we shaped something that could only have existed because it was created here, by people who know our students and understand what they are capable of achieving.
Although The Witchfinder's Daughter draws on the horrors of the 17th century witch trials, we were determined that it should also be a story of hope. Historical accounts, including Queen Anne's voyage from Denmark and the persecution of women accused of witchcraft, are woven through the narrative. Yet at its heart the play follows two young people, Meg and Samuel, whose courage and friendship ultimately right a terrible wrong. It is a story about truth, loyalty and standing up for others, themes that felt deeply relevant to the young people bringing it to life.
One of the most remarkable aspects of the production was the way our students became involved in creating it. The ensemble was cast in February, while the principal roles were not cast until Easter. That gave us months to explore the world of the play together before anyone focused on individual characters. Much of our rehearsal time centred on physical theatre, movement and ensemble storytelling. Students contributed ideas, experimented with scenes and developed the visual language of the production themselves. Because they helped build the piece from the ground up, they developed a real sense of ownership.
Anyone who has worked in theatre knows that rehearsals are where the real work happens. The well-known rule of thumb is that every minute of performance requires an hour of rehearsal. For this production, that proved remarkably accurate. We spent around 100 hours rehearsing together. Georgie constantly encouraged the cast to commit fully. One phrase she returned to time and again was, ‘Keep the magic close’. The world we were creating depended on every performer believing in it completely. Even the wrong hair tie would have broken the spell.
That storytelling was enhanced immeasurably by the work of colleagues across the school. Theatre Designer & Production Manager Joanne Greenwood's set design transformed the theatre into something almost unrecognisable. She removed the central seating and brought the audience directly into the action. Musicians performed from the heart of the space, ensuring that wherever people were seated they felt immersed in the story.
Joanne covered much of the stage with woodchip, added mature branches and carefully constructed woodland scenery that seemed to stretch into the distance. The smell of fresh wood greeted audiences as they entered, immediately transporting them into the natural world that lay at the heart of the story. At the centre stood a fireplace whose surrounding blocks transformed into Queen Anne's bed, becoming one of several spaces that shifted meaning throughout the performance. Every design choice reflected the play's themes, reminding us that many women accused of witchcraft were healers and herbalists whose knowledge of nature made them feared. Joanne’s commitment to sustainability was equally impressive, with costumes recycled or adapted wherever possible.
Music played an equally vital role. Harry Boulton, Assistant Head Director of Music, composed, arranged and sourced the score, combining period-inspired music with contemporary elements. Historical passages were underscored by music rooted in the world of the play, while moments presenting factual testimony adopted a more modern voice. One audience member commented that these sections ‘felt like journalism’, allowing history to speak directly and powerfully to a modern audience. The final roll call of the names of women executed for witchcraft remains one of the production's most moving moments.
The choreography of Dance teachers KJ Mortimer and Chloe Horton elevated several scenes, creating some of the production's most imaginative and memorable moments: Queen Anne's sea voyage conjured through dance, a joyful laundry sequence filled with music, movement and billowing sheets, and moments of stillness where the audience sat only inches from the performers.
Productions of this scale also rely on extraordinary resilience. During one of the hottest weeks of the year, the cast rehearsed and performed in exceptionally challenging conditions. Georgie was even in the theatre between 3 – 5am, opening doors in an attempt to trap cooler air inside the building before the heat of the day arrived. When the opening performance had to be postponed because of the extreme temperatures, the students' disappointment was obvious. Yet when they were told the production would go ahead the following evening, even if costumes had to be abandoned for safety, their immediate response was enthusiasm simply to perform. Fortunately, they were able to wear the costumes after all, to cheers from the company.
Perhaps that spirit is what I will remember most. Watching students persevere through months of rehearsals, collaborate across year groups, support one another and give everything to a shared creative vision reminded me why theatre matters in schools. Several students reflected afterwards that the experience had taught them confidence, perseverance and the value of teamwork, while others gained a new appreciation for the unseen work of technicians, musicians and set builders.
People may remember The Witchfinder's Daughter for its striking visuals, immersive staging or memorable performances. I hope they do. But what made it such a rewarding project was something less visible. It was created entirely within our own community: a story written at Bedales, developed by Bedales staff, brought to life through original music, inspired design and the imagination of our students. It belonged to all of us.
That, for me, is what it really takes to put on a Bedales play.
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