More Than a Performance: The Full-Circle Technical and Creative Evolution of drama

The past year has been an exciting one for drama at Aiglon. Expanded spaces, performances and collaborations are giving students more opportunities than ever to explore theatre.

Creative opportunities in the Moghadam Campus Hub 

At the centre of this momentum is the Blue Box in the Moghadam Campus Hub—the dedicated rehearsal studio that is fast becoming a creative workspace for students preparing productions. Located directly beneath the auditorium seating and designed with a similar footprint to the stage above it, the space allows students to rehearse scenes in realistic stage dimensions.

For Head of Drama Des Hann, the space is changing the entire way rehearsals unfold. “The Blue Box gives us a proper studio environment,” he says. “We can move furniture, experiment with staging and allow students to explore scenes physically in the room. Rehearsals are much more dynamic now that the space supports our work.”

Unlike a traditional classroom, the Blue Box allows productions to evolve through experimentation. Scenes can be developed with props, movement and staging ideas long before the students enter the main theatre.

“Rehearsal is where theatre really takes shape,”Des, a seasoned drama professor, explains. “Students try out new things, discard some and keep others, and gradually refine the performance. A flexible studio like this allows the process to happen organically.”

The space also introduces students to the technical elements of a theatre production, and interest in the technical aspects of theatre has grown steadily for the past few years. Two recent Aiglon graduates have gone on to study technical theatre at university after discovering their interest while working on school productions.

Aiglon employs two experienced technical support staff — bringing professional skills to productions including lighting, sound and video work, as well helping with set construction. Students work regularly alongside them, gaining hands-on experience operating lighting boards, managing microphones and assisting with prompting.

“These technical aspects all depend on careful coordination. Working through elements in the rehearsal stage gives the full picture of how a production comes to life.”

Students are also increasingly involved in front-of-house roles during performances, helping to welcome audiences as well as supporting the marketing side of events. “Front-of-house work is important for students who may not be drawn to performing but are curious about the wider theatre world,” he explains. “They learn about organisation, communication and hospitality, and they see how the audience experience is managed.”

Highlights from the 2025-2026 academic year 

The year has also been rich in performances. One highlight was the Senior School musical School of Rock, which brought together actors, musicians and the technical team in an energetic production.

“School of Rock was great fun and it really suited the students we have at the moment,” Hann says. “We had 24 students in the cast and a small technical crew supporting them, and the energy was palpable. It was also our first opportunity to explore the orchestra pit and the technical possibilities of the theatre.”

Alongside larger productions, the department continues to encourage smaller and more focused performances that allow students to explore different theatrical styles. This year’s exam performances were presented to small, invited audiences that included alumni working in theatre and drama. One evening featured a two-part programme centred on a dark comedy lasting about an hour.

“Performing for a smaller audience requires a different type of concentration,” comments Hann. “Students become very aware of timing, voice and character detail.”

As with many subjects at Aiglon, the holistic education philosophy of the drama department means learning extends beyond the classroom. Theatre trips and workshops give students the opportunity to see professional productions and observe the work of career performers and designers. Students recently attended a touring production of The Phantom of the Opera performed in Switzerland by the professional company behind the UK production.

Students also took part in workshops led by practitioners from the UK theatre company Frantic Assembly, known for its distinctive physical theatre style. Through a series of movement and trust exercises, they explored how physical storytelling can communicate ideas beyond traditional scripted performance.

The programme currently includes a small but committed group of IB drama students across two year levels, each balancing creative work with demanding academic studies. Within the IB programme, they undertake substantial research and performance assessments. One component involves a 15-minute presentation that combines video, slides and a practical demonstration using props or staging ideas.

Essential skills for the future 

Looking ahead, the coming year promises further experimentation.The Junior School production - The Phantom Tollbooth , already being rehearsed by drama teacher Emily Hann will explore theatre in the round, with props and set items creating the ever-changing imaginative world of the play “There is tremendous potential in the theatre,” says Des. “We’ve had a busy and positive first year in the Moghadam Campus Hub, and it’s exciting to think about what we might try next and how we can continue to use the space in new ways.”

The skills developed through drama become even more valuable in the time of AI. Des believes the knowledge gained through theatre applies widely. “Communication, collaboration, creative thinking and critical analysis are abilities students will use in almost every field.”