An Inadequate Expression of Thanks

Everyone who has been involved in the development of Edward’s Boys has to express their gratitude to a number of people. No doubt several are missed off this list. Perry Mills accepts responsibility for all omissions.

The project would not have been possible without the support of these in particular:

Tim Moore-Bridger; Bennet Carr; Richard Pearson; Gavin Birkett; Carol Chillington Rutter; Michael Wood; Patrick Spottiswoode; Tiffany Stern; Laurie Maguire; Andy Kesson; Emma Smith; Stanley Wells; John Jowett; Gordon McMullan; Lucy Munro; Helen Barr; Greg Doran; Michael Dobson; Struan Leslie; Elisabeth Dutton; the faux pas Committees past and present; Rebecca Dobbs; Robert Pocknell; Susann Phair; Mark Ellis; Louisa Nightingale; Amanda Wood; Amaryllis Barton; Suzie Vogiaridis; Jose Perez Diez; Martin Butler; Jenny Richards; Andrew Hadfield; Harry McCarthy; Tom Walton; Mary Mills.

 

David Troughton

David Troughton was appointed Head of Art at K.E.S. in 2001 and before too long became involved with design and construction of the School’s annual productions assisting Perry Mills. His first participation with Edward’s Boys was with The Dutch Courtesan in 2008.

He left teaching in 2009 but has continued to work on productions with Edward’s Boys and Perry, and with  the present Director of Drama and Performance.

David is a practising artist who has exhibited extensively in the U.K. and internationally. David’s website can be visited here, and googling his name with the suffix ‘artist’ (to avoid confusion with the actor of the same name) will throw up examples of his work.

David is available to commission.

dltroughton@aol.com

 

Struan Leslie

The first time Struan Leslie worked with Edward’s Boys was on the 2012 production of Westward Ho! Following the first rehearsal two things became clear immediately:

  1. The ostensible reason for bringing in a ‘movement’ director (helping boys to learn to move like girls) was entirely misguided;
  2. Everyone benefitted from Struan’s presence in the rehearsal room.

Neither discovery should have been surprising had we considered it more carefully in advance. What was astonishing was that Struan appeared to find the experience worthwhile himself. Subsequently, he has worked on practically every production and his contribution has been incalculable. Although the boys still tend to walk like boys…

Thank you, Mr Leslie.