By Isabelle King (Y12)
At a time when illegal immigration remains a major and deeply controversial issue in the United States, particularly with strict laws surrounding ICE enforcement and border control, the Y12 play tackled this topic head-on. The production was an adaptation of the book: ‘Signs Preceding the End of the World’, telling the story of a young girl sent by her mother on a mission to bring her brother home from the US. Along the way, she faces constant danger, a lack of documentation, and months of exhausting travel through hostile environments. The play aimed to humanise the realities of migration and explore the emotional cost of such journeys. To better understand how the production came together, cast member Elijah Graymore shared his insights into the creative process.
Elijah told me that the most challenging aspects of the production were physical and creative. “Physically, the lifts were quite difficult to master. Creatively, it took us a really long time to figure out the ending scene, to the point that we finalised it on Thursday morning, the day we performed.”
Several scenes stood out as particularly powerful. “There are moments where we break from the story and speak directly to the audience about the struggles of immigrants and the necessity of their situation,” he said, describing these as some of the most impactful parts of the play. He also highlighted the final monologue during the cop scene, where the cast showcases a cop yelling demeaning things towards the immigrants, reflecting their dire situation in a violent act.
The main goal of the production was to raise awareness. “We wanted to bring to light the struggles of immigration,” he explained. “It can feel distant to us because of our school’s economic and social situation, but it’s an issue that really needs to be known about. Even just being supportive of immigration and speaking out against unfair attitudes can make a big difference.”
In terms of staging, the cast used a “blank-canvas” approach, limiting props to keep the focus on the story. The most prominent items were the light-up doorframes and chairs. The doorframes really elevated the piece. Elijah said, “They helped us quickly create new locations and also worked as a metaphor for Makina’s journey.” As an audience member, I thought that it was an especially powerful creative choice and mimicked the idea of crossing space, adding dimension to the play.
Telling a story about impoverished Latin immigrants required sensitivity, particularly as the cast came largely from well-off backgrounds. With guidance from Ms. Friend, who is experienced in working with asylum seekers, the group aimed to approach the subject respectfully and thoughtfully. As this was the first-ever stage adaptation of the book, clarity and accessibility were key priorities, helping ensure the story connected meaningfully with its audience.