As an NSTA representative, I had the distinct pleasure of attending Kingston Grammar School’s production of Bright. Young. Things on Thursday 21st May 2026. It was a show that sparkled with style, intelligence, and theatrical flair from its very first, quietly unnerving line, “Do you remember the moment before everything changed?” and never let that atmosphere go.
Bright. Young. Things. is a captivating and thought provoking 2011 play by Georgia Christou, part of an initiative from Tonic Theatre aimed at achieving greater gender equality in theatre, publishing plays with predominantly or all female casts, written specifically for performance by young actors. The play is centred on six child prodigies competing in a high stakes television quiz show, probing the lives of young people in a world obsessed with television, the pressure to succeed, the hunger for exposure, and the manipulations that sit behind the bright lights, and this young company made those themes feel urgent and strikingly relevant.
The production’s visual world was clever and purposeful from the outset. The set made an immediate impression, with contestants’ podiums creating a lively focal point around the stage, while The Producers and the Judges were given a separate, more restrained space that suggested both authority and distance. The costumes were equally well judged. The contestants’ outfits were full of pattern, colour and personality, helping each character feel distinct before they had even spoken. In contrast, The Producers were dressed in monochrome, patterned waistcoats and glasses, which gave them a slick, slightly artificial edge.
One of the most impressive elements of this show was the power it gave to the role of the ensemble, The Producers, who moved with the precision and unity of a well-oiled machine. Their humming, buzzing entrances and tightly coordinated movement created a bristling theatrical energy that drove the action forward. Nothing felt loose or uncertain; every reaction, glance and shift in position seemed carefully considered, yet the performance never lost its spontaneity. Lines of dialogue were shared out among the 17 of them and delivered with gusto and purpose. They sustained the atmosphere superbly, and their commitment had a real impact, leaving the audience feeling watched and, at times, almost unnerved.
Equally, Medha’s portrayal of Rochelle was an exceptionally assured central performance. As the show’s accidental heroine, Medha balanced fun and vulnerability with impressive ease; she rode the comic rhythms with impeccable timing, and in the quieter moments she revealed an affecting interior life. A tender scene with her father, played by George, allowed Medha to drop the bright patter and show genuine feeling, making Rochelle’s ambitions and anxieties feel human rather than schematic. By the final sequences, the audience were firmly invested in her journey, and Medha did not miss a beat when it came to drawing them into her world.
The supporting contestants were also memorably drawn. Real-life twins Alice and Eleanor brought sisterly energy to Jasmine and Sheara, with Alice’s sass and Eleanor’s steadiness creating an engaging emotional contrast. Emily’s Amber, the biscuit-obsessed youngest contestant, provided well-judged comic relief with excellent timing and charm. Luca’s Bernie, the earnest mathematical genius yearning for friendship, moved from touching vulnerability to an unexpectedly funny group rendition of “We Will Rock You”, much to The Producers’ horror. Safia’s Hester perfectly balanced the character’s self-assured exterior with a beautifully played, hidden self-doubt. These performances helped to give the piece variety and texture, and they were all delivered with clear confidence and a real sense of friendship, however unusual that might have been.
Mia and Joe were another highlight as Lady Regina and Neil Pullover, forming a fantastic comedy duo. Mia brought a brilliant sense of attitude to Lady Regina, with every look and line delivered in a way that made the character instantly memorable. Joe, as Neil Pullover, was equally effective, using cheesy but charming gestures to create a wonderfully awkward yet lovable presence. Together, they had strong comic chemistry and knew exactly how to play off one another, making their scenes consistently enjoyable and adding another layer of humour to the production.
Millie and Lily as Presenter 1 and Presenter 2 were delightfully composed and deliciously sassy, forming the cold, showy bridge between scenes. Their opening broadcast pieces established the show’s tone, and in the sequence where the live show begins to unravel, their crisp call-and-response and clipped mannerisms kept the comedy and tension readable. Their partnership anchored the faster transitions and made even short appearances feel purposeful and sharply observed, with a chemistry that became a real strength of the show.
Directorially, the production handled the play’s 21 quick scenes with clear rhythm: broader, satirical set pieces sat comfortably alongside moments of quiet revelation, and technical elements such as slick scene changes, props, and well-judged lighting served the storytelling rather than distracting from it. Most importantly, the production retained an emotional core; when the ensemble’s energy momentarily gave way to intimacy, the play’s human cost, the loneliness, rivalry and desire beneath the spectacle, landed with surprising poignancy.
Kingston Grammar School’s Bright. Young. Things was an assured, well-drilled production that offered a multi-layered and thought-provoking exploration of themes that feel especially relevant in the current climate. Each of the contestants realises, in their own time, that they can achieve amazing things, and I hope that the cast and crew of this production know that they have done just that. A huge congratulations to all!
National School Theatre Awards
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