This article is part of our ‘Staff spotlight’ series. We’ll be shining a light on the amazing people who make Trinity tick – from their career journeys to their passions, quirks, and memorable moments at school.
Lucy Robinson first joined Trinity as a Teaching Assistant in 2015, before returning in 2019 as Head of Academic Drama and going on to become Director of Drama. Over the past seven years, Miss Robinson has played a central role in shaping Drama at Trinity, both in the classroom and on stage, directing productions including the recent Blue Stockings and creating opportunities for students to experience professional theatre beyond school. We sat down with her to talk about her journey into teaching, her approach to Drama, the importance of live performance and an exciting new chapter for Drama as Trinity prepares to become fully co-educational.
1. You had a brief first chapter at Trinity as a Teaching Assistant in 2015 before returning in 2019. What brought you back, and what has kept you here? My Trinity journey actually started with a fortnight’s work experience in 2014 when I was studying at university, so it has been a long time! Having trained at another school, when the Head of Academic Drama job arose at Trinity, I knew I had to seize the opportunity to contribute to the department that had cemented my love of teaching. I love the ethos and balance here: the academic work is important, and it’s heartening that Drama is revered and respected as an academically rigorous subject, but it’s the cocurricular life at Trinity that really sets it apart. It is genuinely a privilege to work with such curious and creative students every day.
2. When did you realise that teaching Drama was what you wanted to do? I think I’ve always valued working with young people, even when I myself was relatively young: teaching Drama felt (and still feels) like the perfect way to balance my experience and enjoyment of working with young people in theatre and in schools with my passion for theatre and performance.
3. You studied both Drama and Classical Literature and Civilisation, and Drama and Classics at Trinity often come together through lessons, projects and trips. What do you enjoy about those connections, and what can students gain from exploring a subject across traditional departmental boundaries? I don’t really think you can study Classics without an appreciation for Drama, and vice versa. We owe so many of our theatrical conventions in this country to those established in 5th Century BC Athens, and I think there’s something wonderful about characters, themes and ideas written 2500 years ago still resonating with audiences today. In an educational sense, drawing links between subjects helps students develop higher order thinking skills and enhance their memory of specific topics, but more broadly it is exciting for people to recognise that life is made up of so much that defies categorisation into neat, subject-specific boxes.
4. What’s your best memory as a teacher? Ooh hard to pick just one! The opening night of any production is special, as you get to see the hard work of so many staff and students pay off after months of effort. ‘After Life’ in Spring 2024 was particularly special, as the Sixth Form cast handled the devastating and profound content with real maturity. The assistant director, Dhyan, ran backstage afterwards, completely elated: “Miss Robinson! The audience is SOBBING!” For a Sixth Form cast to render the audience to tears like that, was really something.
5. You recently directed Blue Stockings, which feels particularly timely as Trinity prepares to become fully co-educational. What drew you to the play? And we know you’re particularly excited about welcoming girls from a Drama point of view. What new possibilities will that open up for productions at Trinity? I loved Jessica Swale’s writing, how the characters felt familiar and accessible despite being based on real people from 130 years ago. Drama continues to grow at Trinity, particularly as an A Level subject, and I knew we had lots of really talented Sixth Form girls who would ably rise to the demands of the protagonist Tess, her peers and her teachers. I was drawn to the way the play asked serious questions about girls’ access to education alongside light-hearted moments of friendship, flirtation and first bike rides. The opening night’s performance in front of the playwright was an utter joy: Jessica was so moved by the cast’s brilliance, and we were honoured to have a Q&A with her where we discussed the relevance of the play in 2026. Drama has never been stronger at Trinity, so it’s hugely exciting that at this point in the Department’s journey we are opening the doors to younger girls. The new Dance Studio has been a welcome extra teaching space as the number of students studying Drama has continued to expand, and we are looking forward to our new Drama Studio with adjustable lighting rig which will run alongside the Green Room as part of the school’s development. It’s exciting to think about the range of productions it will open up for Lower and Middle School productions, and watch this space for news on House Drama!
6. You’re a great advocate for seeing live theatre, organising trips for students and even setting up a staff theatre club. What is it about experiencing a production live that you think is so valuable, and is there a production you’ve seen that has stayed with you? Two productions that stick out are The Lion King with the then Lower School Drama scholars in 2022 and Inter Alia with Lower Sixth A Level students this summer. Seeing the wonder and awe inspired by the puppetry and the costumes in The Lion King through the eyes of 11-year-olds was fantastic, as was the depth of emotion and conversation in response to the legal play Inter Alia. Live theatre encourages us to immerse ourselves in fictional character dynamics and relationships from a distance, creating a space in which our brains can navigate complicated emotions and challenging scenarios. More than that, though, theatre is MAGIC. We expect films and TV to be able to impress us because of special effects, but seeing the many impressive elements of a production come together in front of your very eyes is something else. There’s no greater bonding experience, and as such the theatre trips at Trinity are a definite highlight.
7. Drama at Trinity involves far more than the actors we see on stage. What do you hope students take from being part of a production, whether they’re performing, designing, working backstage or simply taking a chance on something new? Productions celebrate teamwork and the individual in equal measure: students get to share in the joy and satisfaction of months of hard work with peers who might be 7 years older than them, but there’s also so much to be celebrated on an individual basis. I hope every student involved in a production takes risks, makes friends and forms memories that will maintain their love of theatre and performance long after they leave Trinity.
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