Drama at Sedbergh: thinking, confidence and communication beyond the stage
Drama at Sedbergh is about much more than performance. Pupils learn to analyse language, interpret human behaviour, test ideas, collaborate and communicate with confidence — skills that have value across academic subjects and well beyond School.
Suzie Pye, Head of Drama and a professional actor, explains why practical and academic thinking belong together, how Drama develops pupils with very different starting points, and why the ability to understand an audience and make a compelling case is increasingly valuable. At Sedbergh, the structure of School life also creates the time for serious rehearsal and ambitious performance: the department manages around ten hours of rehearsal each week across the year, supporting three major annual productions for different age groups.
That combination of academic study, sustained rehearsal and performance gives pupils the opportunity not simply to take part in Drama, but to develop their craft.
What is it about Drama that you find most exciting to teach at Sedbergh?
What excites me most is seeing pupils discover what they are capable of. Drama asks them to be brave, to share ideas, to see the world from another perspective, take creative risks and communicate with an audience.
At Sedbergh, we have pupils with such a wonderful range of interests and experiences, and Drama gives them a space to bring all of that together. You see confidence grow, but you also see curiosity, empathy and intellectual playfulness develop.
There is something incredibly rewarding about watching a pupil realise that their ideas have value and that they have the ability to hold the attention of an audience. And, of course, theatre itself is exciting. Every text, rehearsal and performance gives us something new to discover.
How do you ensure that every pupil — whatever their starting point — makes strong progress in Drama?
We start with the individual pupil rather than with an assumption about what a Drama student ought to look like. Some pupils arrive bursting with confidence and eager to perform; others are quieter, more analytical, or have never stepped onto a stage before. Both can become exceptional Drama students.
Progress comes through creating an environment where pupils feel confident enough to take risks, but where expectations remain high. We explicitly teach the craft: vocal and physical skills, interpretation, textual analysis, devising, evaluation and reflection.
Pupils receive precise feedback and are encouraged to understand not simply whether something worked, but why it worked and how they can improve it. Over time, they become increasingly independent, making choices, justifying them and taking responsibility for the quality of their work.
Drama has a very visible practical side. What does the academic and analytical side of the subject look like?
The practical and academic sides of Drama constantly inform one another.
A pupil might begin with a line of text and ask: Why has the playwright chosen this word? What is the subtext? What does the character want? How does the historical or social context inform our interpretation? What would happen if we changed the pace, positioning or emphasis?
They then test that interpretation practically and evaluate the result. That is sophisticated analytical thinking: forming a hypothesis, applying it, assessing its impact and refining the argument.
Written Drama also requires pupils to construct coherent arguments and support them with precise evidence. In that sense, there are strong parallels with subjects such as English, History and even the analytical reasoning required in Law.
“The ability to stand in front of people, understand your audience and make a compelling case is not a niche theatrical skill. It is a life skill.”
What does it mean, in your view, to ‘think like a Drama student’?
To think like a Drama student is to become intensely observant. You notice what people say, but also what they don’t say. You notice body language, pauses, status, relationships, motivation, atmosphere and the way an audience is being encouraged to respond.
Drama students learn to ask: Why this choice? Why now? What is the intention? Whose perspective are we seeing? Is there another interpretation?
That develops a very valuable intellectual habit — resisting the obvious answer and looking more closely. We are teaching pupils to interpret human behaviour, language and intention and then to communicate their interpretation persuasively.
How do you support both confident pupils and those who may not yet see themselves as ‘natural’ Drama students?
One of the misconceptions about Drama is that you have to be naturally extroverted. You don’t. Confidence can certainly be an asset, but Drama requires much more than confidence. It requires sensitivity, discipline, listening, imagination, observation and the ability to collaborate.
For a pupil who is initially hesitant, we build confidence incrementally. They learn that Drama isn’t about being the loudest person in the room; it’s about having something to communicate and developing the skills to communicate it.
For naturally confident performers, the challenge can be different. We encourage them to move beyond instinct and charisma towards greater precision, subtlety and intellectual rigour. Every pupil has a next step.
What skills do pupils develop through studying Drama that transfer beyond the stage?
The transferable skills are enormous. Drama teaches pupils to speak clearly and persuasively, listen properly, read a room, collaborate, respond under pressure, think creatively, analyse language and behaviour, accept feedback and adapt quickly.
Those skills matter on stage, but they also matter in a boardroom, a courtroom, an interview, a presentation or a negotiation.
I think that’s particularly important when talking about the value of the subject. We are certainly preparing young people who may go on to become actors, directors, designers and theatre-makers. But we are also developing skills that are tremendously valuable to future lawyers, entrepreneurs, business leaders, teachers and many other professionals.
“The ability to stand in front of people, understand your audience and make a compelling case is not a niche theatrical skill. It is a life skill.”
Many pupils at Sedbergh are heavily involved in sport and co-curricular life. How does Drama complement and strengthen those experiences?
There are actually wonderful parallels between Drama and sport. Where rugby players train, Drama students rehearse; where a netball match takes place on a court, Drama performances take place on a stage; where hockey players work in teams, a play cast form an ensemble; where cricket players are guided by a coach, actors are guided by a director.
Drama and sport both demand discipline, preparation, teamwork, resilience and the ability to perform under pressure. You have to trust the people around you. You have to respond when something unexpected happens. And ultimately, when the moment arrives, you have to commit completely.
I don’t see Drama competing with the wider life of Sedbergh. I see it as an important part of creating rounded, capable young people.
How does the environment at Sedbergh influence the way pupils engage with Drama?
Sedbergh has a very distinctive energy. Pupils are encouraged to participate, contribute and throw themselves into school life, and that spirit translates beautifully into Drama.
The boarding environment also creates a particularly strong sense of ensemble. Pupils know one another well and learn to work across different groups and year levels. Theatre thrives on that sense of community because no successful production is ever created by one individual.
There is also something special about creating theatre within a school where ambition and participation are valued. We expect and encourage pupils to tackle challenging situations head on, be it walking up Winder, competing in the Wilson Run, or taking part in the Year 9 House Drama competition — the ethos and HARK values underpin everything we do.
What are some of the pathways that Drama prepares students for?
The obvious pathways are enormously exciting: acting, directing, writing, producing, design, technical theatre, film, television and the wider creative industries. But those are only part of the picture.
Drama is excellent preparation for careers in Law because pupils learn to analyse language, understand motivation, construct an argument, question different interpretations and communicate persuasively.
It is equally relevant to business, leadership, pitching an idea, presenting to clients, negotiating, working in teams and understanding an audience all depend upon communication and interpersonal awareness.
You could make similar connections with teaching, journalism, broadcasting, marketing, politics, psychology and many other fields.
“I would never want a pupil to think, “I don’t want to become an actor, therefore Drama isn’t for me. The better question is, “Will I need to understand people, communicate ideas and have the confidence to make an impact?” For most careers, the answer is yes.”
Why do you believe Drama remains an important subject for pupils’ futures, whatever career path they pursue?
Because the future will continue to demand something deeply human.
Knowledge matters enormously, but young people also need to know how to use that knowledge: how to communicate it, challenge it, defend an idea, and collaborate with other people. Drama develops those abilities.
It also develops empathy. To explore a character seriously, you have to attempt to understand a perspective that may be completely different from your own. That ability to see complexity in people and situations is extraordinarily valuable.
Whatever our pupils eventually do, we want them to leave Sedbergh able to think independently, communicate with confidence and engage intelligently with other people. Drama makes a powerful contribution to all of these.