It was a distinct honour to see Brighton College’s production of Beowulf, performed on Saturday 24th January 2026 at The Cairns Theatre. Directed with immense creativity by Mr Alex Kerr and co-directed by pupil Leo, this production breathed vibrant, visceral life into one of the oldest stories in the English canon. The production’s artistic success was further bolstered by a dedicated team of pupil leaders, including choreographer Annabelle, Dance Captain Emily, and lighting assistant Carter, all working in seamless tandem with the atmospheric lighting design of Mr Tim Meredith, costume design by Mrs Louise Watts, Set Design by Mr Paul Tilbrook and Mrs Kate Wicks, and Sound Design from Mr George Robey.
Beowulf is an epic poem that explores the cyclical nature of heroism, monstrousness, and the inevitable passage of time. In this striking interpretation, the title character was reimagined as a woman, and the traditional band of Geats was transformed into a formidable group of “women with purpose.” This gender-flipped perspective lent the narrative a modern urgency, reframing the protagonist’s quest for glory through a lens of female empowerment and grit.
The staging was a masterclass in atmospheric design. The Cairns Theatre stage was filled with dynamic layers, dominated by a monumental arch flanked by jagged steps that rose like a primitive mountain or a wind-swept igloo. Topped by stone cairns, the set provided an authentic Scandinavian aesthetic that felt both ancient and permanent. Costumes were equally thoughtful, featuring furs and heavy pelts overlaid on earthy tones, perfectly capturing the “Dark Age” spirit. The dim, moody lighting – often utilising sharp spots to isolate lead performers – created a desperate, dangerous atmosphere where shadows felt as tangible as the actors themselves.
The play opened with a hauntingly intimate scene: the child Lucy arguing with her parents. Her confident proclamation – “They will not see me, but I will not disappear” – served as a poignant prologue before the Fates emerged from beneath her bed. This transition immediately plunged the audience into an otherworldly narrative, underscored by a dramatic shift into red-lit, high-octane choreography.
In the title role, Anya played Beowulf with undeniable confidence and fire. She rose to the challenge of this gender-reimagined role magnificently, anchoring the epic scale of the play with a fierce stage presence. Alongside her, Melody’s Wiglaf was plucky and loyal; her final monologue was delivered with nuance, and her reaction to Beowulf’s death felt heartfelt and raw. Toby portrayed Hrothgar with a seasoned authority, while Sienna’s Wealtheow remained poised and regal throughout. On the comedic front, Albert’s ‘Fugitive’ was perfectly pitched, eking out every drop of humour through a high-pitched delivery and hilariously stretched phrasing that provided a welcome contrast to the play’s darker themes.
The ensemble functioned as the heartbeat of the play. The Geats – Juliet, Mia, Violet, Kirah, Olivia, Sophie, Charis, Alivia, Raphella, and Flossie – moved with a unified, warrior-like precision. Opposite them, the Scyldings provided a rich, populated world, shifting from raucous mead-hall celebrants to a terrified populace with ease. As the Fates, Clara, Rocco, Xan, Felix, and Phiala acted as the dark weavers of destiny, their presence looming over the stage like an inescapable shadow, swaying their limbs as if floating etherily throughout their scenes. Mention must also be made of the haunting, plague-doctor-inspired figures whose movements were truly chilling.
Perhaps the most astounding element of this production was the revelation that much of the movement was devised by the large ensemble. Their inventiveness was boundless; through a sophisticated visual language of physical theatre, they transformed themselves into longboats, mead halls, a Kraken, and a dragon. One pupil embodied the ship’s figurehead with terrifying commitment, staring with unblinking eyes and an open mouth throughout the entire sequence, whilst the Geats swayed slowly in time to depict the gentle rocking of the longboat on the waves. In Beowulf’s battle with Grendel, the ensemble lifted Beowulf to facilitate a slow-motion combat sequence that felt cinematic in its execution. As the Fugitive spun his tale, the dragon manifested from the shadows; the ensemble interlocked their limbs with visceral precision, their collective frames curling into the creature’s massive, leathery wings.
The production’s technical ingenuity reached its zenith during the underwater sequences. The cast manipulated jellyfish – ingeniously crafted from umbrellas, lights, and translucent fabric – which drifted through the water with ethereal grace. The “sea swimming” race between Beowulf and Breca was a moment of pure theatrical magic. The ensemble hoisted the two actresses into the blue-lit air, creating a fluid, weightless effect as they “swam” through the ocean. This transitioned into a confrontation with a Kraken, personified by the ensemble linking arms and oscillating like a giant, pulsing tentacle.
The visual storytelling continued to impress during the dragon’s entrance. Beowulf was backlit through a thick shroud of dry ice as he entered the cavern, seen powerfully in silhouette, sword drawn. Then the dragon entered, a rod puppet controlled with skill by several cast members as he circled the stage. This choreographed fight scene between the dragon, Beowulf, and Wiglaf was visually powerful, the tension building effectively as the dragon swayed side to side before disappearing into darkness. Brighton College’s Beowulf was an inventive, powerful, and professional triumph. To tackle such a dense, ancient text and imbue it with such contemporary creativity is no mean feat. The pupil-led nature of the choreography and co-direction makes this achievement all the more remarkable. The entire ensemble should be incredibly proud of a production that was, quite simply, astounding.