As an NSTA representative, I had the distinct pleasure of attending the University College School production of This House on Tuesday 25th November 2025. From the moment the lights rose on the first night, one thing was immediately clear: this was a show that had been rehearsed to an exceptional standard. Any sense that opening-night nerves might show themselves vanished as soon as the metaphorical “curtain” went up. The cast launched into the play with confidence, precision, and a level of polish that many school productions only reach several performances in. It was evident within minutes that this was not merely a well-prepared school play, but a deeply considered and ambitious piece of theatre.
This House dramatises the turbulent political landscape of 1970s Britain, setting its action within the corridors and chambers of the House of Commons during the fragile Labour governments of Harold Wilson and James Callaghan. With razor-sharp dialogue and dark humour, the play follows the relentless push and pull between Labour and Conservative MPs as wafer-thin majorities, backroom deals and personal compromises threaten the stability of government. As tensions escalate towards the dramatic vote of no confidence in 1979, the play exposes both the absurdity and the human cost of parliamentary politics, offering a gripping exploration of power, loyalty and the fragile mechanics of democracy. Written by James Graham, the play premiered at the National Theatre’s Cottesloe Theatre in 2012 before making its West End debut at the Garrick Theatre in 2016.
University College School’s production did not shy away from the complexity of this play’s subject matter. What was especially impressive was how confidently the actors handled such a demanding storyline. Political theatre can easily become confusing or overly didactic, but here the narrative remained clear and engaging throughout. It was obvious that the cast had invested significant time in understanding not only the script, but the politics underpinning it. They demonstrated a nuanced grasp of both the internal politics between characters and the workings of the wider political system in which the play is set, allowing the story to unfold seamlessly and convincingly.
This understanding was particularly evident in the dialogue, which deserves special commendation. This is a relentlessly wordy play, dense with argument, rhetoric and fast-paced exchanges, and it offers little respite for its performers. Yet the cast delivered the dialogue with clarity and assurance, never allowing the pace to falter. Lines were delivered with intention and meaning, suggesting that every pupil knew the script inside out, no mean feat given the volume and complexity of the text. The result was a production that felt intellectually alive and continuously engaging.
Adding further depth and texture to the performances was the impressive use of regional accents throughout the cast. These accents were believable and sustained, often providing moments of dry comedy and sharp sarcasm that lightened the intensity of the political debate without undermining it. Even more striking was how convincingly many of the pupils embodied middle-aged politicians. Several performances were so assured and so fully realised that it was genuinely easy to forget the age of the actors altogether. Their physicality, vocal choices, and mannerisms all worked together to create credible, authoritative figures. Whilst the entire ensemble impressed, a number of performances merit special mention here. Luka was outstanding, capturing the presence and energy of a seasoned politician with conviction and authority. His performance truly felt like having a real politician onstage. Bob delivered a strong and confident performance, marked by well-judged mannerisms and assured timing. Sanaya’s portrayal was compelling and sharply defined, and Markus delivered his lines smoothly, maintaining pace and energy with aplomb.
The set design, though relatively simple at first glance, proved to be quietly genius in both conception and execution. It was clearly carefully chosen to reflect the era in which the play was set, grounding the action firmly in its historical and political context without ever feeling heavy-handed. Rather than overwhelming the audience with elaborate scenery, the production relied on a flexible, intelligent design that made excellent use of lighting. One particularly effective element was the way the set allowed for the seamless incorporation of news clips, which were woven into the action to add real depth and texture to the narrative. These moments gave the audience valuable context, reinforcing the tumultuous political landscape and enhancing the realism of the story. The decision to keep the actors onstage throughout much of the performance further heightened the atmosphere, creating a sense of constant observation and pressure that felt entirely appropriate for a play rooted in power, ideology, and consequence.
Sound was designed with skill and imagination by Jake. The ever-present rhythmic underscoring of the drums became a vital part of the storytelling, steadily building and releasing tension as the drama unfolded. The drums heightened moments of conflict and urgency, subtly driving the pace of the play and reinforcing the sense of political instability without ever distracting from the action. The inspired decision to place the musician onstage at all times was a genuine stroke of genius.
This House was an extraordinary achievement. It combined intellectual ambition with theatrical flair, showcasing not only the talent of the pupils but their dedication, discipline and insight. This was a remarkably accomplished ensemble who left little doubt that University College School’s drama department is producing work of exceptional quality.
National School Theatre Awards
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