As an NSTA representative, I had the distinct pleasure of attending Lady Eleanor Holles’ and Hampton School production of DNA on the 6th February 2026. Under the assured direction of pupil Rubika, the production emerged as a polished, absorbing, and impressively mature piece of theatre.
DNA was commissioned as part of the National Theatre’s Connections Scheme, which tasks playwrights with writing plays for young performers. Written by Dennis Kelly, it was first performed on the Cottesloe Theatre stage at the National Theatre in 2008. The play follows a group of teenagers who do something terrible – so terrible that panic drives them into a web of lies that ultimately binds them together more tightly than honesty ever did. The play asks a simple but unsettling question: when wrongdoing brings unity, what incentive remains to put things right? One of this production’s greatest strengths was its clear grasp of this central theme.
From the outset, the production drew us in with birdsong, minimalist staging, and thoughtful design choices that created an immediate sense of unease. The staging and direction were exemplary. Subtle lighting shifts, the use of a heartbeat motif, and careful pacing heightened tension without overshadowing the play’s dark humour. The technical elements helped drive the narrative and there was not a moment out of place.
For DNA to succeed, it requires a cast with strong emotional intelligence, a firm grasp of pace, and seamless ensemble work – qualities this cast demonstrated consistently. This was an excellent ensemble performance with some individual brilliance. The commitment to character and a shared dedication to the storytelling made this a standout performance from the leading actors. Jan and Mark, played by Zuri and Anni, set the tone beautifully, delivering their narrator-like exchanges with precision and excellent chemistry. Jan’s portrayal of a panicked, frightened teenager was confident and compelling.
Katie’s performance as Leah was outstanding. Her emotional range, command of silence, and ability to shift from despair to anger within moments created a deeply empathetic character. Her reactions to Phil’s indifference – particularly during the food scenes – elicited uneasy laughter and highlighted her growing desperation. Katie’s growing frustration and anger was beautifully crafted, eventually leading to her storming off. Katie’s presence in ensemble moments acted as the production’s emotional anchor. The dynamic between Leah and Phil, played by Samuel, was particularly striking. Their scenes carried real weight, and the simple gesture of holding hands on the line “we’ve got each other” offered a poignant glimpse into their relationship.
Samuel portrayed Phil with an understated menace. Even in the scenes with Leah, where he was silent, his cold glances and emotional detachment made it clear how he felt. This made his monologue, where he took charge, more impactful. His controlled aggression and tonal shifts created a chilling portrait of a character unravelling, culminating in a broken figure by the play’s end.
The strength of the production lay in the cast’s chemistry and the clarity with which each character navigated the moral crisis. The ensemble showcased a deep understanding of their roles and a commitment to the overall narrative. Monty’s portrayal of John Tate brought urgency, authority, and volatility to the stage. Through controlled body language, proxemics, and vocal power, he established himself as both leader and coward, with the ensemble’s reactions amplifying this duality. His role was fleeting but left a lasting impression on the audience. Nadia’s portrayal of Danny was great with the deadpan seriousness and focus on her future expertly delivered, providing a grounded counterpoint to the chaos. Maryam gave a confident portrayal of Richard. Her delivery of “he is dead” set the tone for the unfolding panic, while scenes with John Tate showcased a convincing blend of bravado and insecurity.
Cathy, played by Leila, was excellent as the self‑absorbed girl who found disturbing excitement in the situation, her casual demeanour and unsettling smiles adding texture to the role. Jana, who played Brian, was excellent, and her journey from subtle nervousness to complete emotional collapse was beautifully crafted, with the “snow angels” moment in the dirt serving as a haunting highlight. Mya’s portrayal of Lou was convincing, using closed body language and visible trembling to offer a powerful reminder that these were, ultimately, just teenagers in over their heads. Even in a smaller role, Adam, played by Alexander, made a strong impression. His fearful gestures and darting glances underscored the fragility of the group, and the contrasting reactions from the others – some amused, some terrified – were handled with great skill.
The joint Lady Eleanor Holles and Hampton School production of DNA really managed to capture the tense, unsettling world of Kelly’s play. Strong performances, smart directing, and a clear grasp of the themes made it both engaging and thought‑provoking. It showed not just the pupils’ talent but their willingness to take on tough material, leaving the audience thinking about the play’s big question: what happens to a group when doing the right thing becomes the riskiest choice. One audience member described this performance as “genius” – a sentiment that felt entirely justified.