Guernsey’s new performing arts centre is purpose-built, cost £8m. and in the next six days alone is hosting a hip-hop dance workshop, a poetry event and a hair and make-up show. But what’s it like to perform in? Shaun Shackleton has been finding out IT’S one of the debut productions at the island’s all-new performing arts centre. And The Black Remote is turning out to be a winner.

Take these words, for example: ‘This production was by far the most intricate, flamboyant and overwhelming show I have seen in a long time.

‘They [the cast] all threw themselves in and committed wholeheartedly to the production. It was bursting at the seams with creativity, individuality and ingenuity.

‘The ensemble is to be congratulated as they produced some of the most vivid images – far too may to mention.’

That’s a release from the National Theatre as part of its Shell Connections programme for young and aspiring acting companies, youth theatres and school groups.

It was written by Serine Saba, the actor and NT representative who assessed the play, which was performed by youngsters from island schools, in March.

The cast, collectively known as the Pac Company, was selected for one of only 15 places worldwide to make a short documentary, which will be shown on BBC2 in the autumn and projected onto the front of the National Theatre.

And as if that wasn’t enough, if The Black Remote wins, they get to perform at the National Theatre’s festival in July.

The production has been a while in the making. ‘I sent in the entry form in June, chose the play in October and went up to a directors’ forum in Scarborough in November,’ explained College of Further Education manager and artistic director of The Black Remote Maddie Hughes.

‘We did an open audition for two nights at the beginning of January. There were 60-plus people auditioned from the ages of 13 to 18 and that was whittled down to 14.’

The adjudicator came over in March and the first two invitation-only performances took place in April.

Maddie, who has directed plays in the UK before, says that this one was a brilliant opportunity for the cast to explore what it means to find your own voice as a young person.

‘The rehearsal process has been influenced by a series of theatrical practitioners including Antonin Artaud, a French surrealist and member of the avant-garde in the early 1900s,’ said Maddie. ‘To Artaud, imagination is reality and dreams, thoughts and delusions are no less real than the outside world. Reality appears to be a consensus – the same consensus the audience accepts when they enter a theatre to see a play and for a time pretend what they are seeing is real.’

The Black Remote by Glyn Maxwell tells the story of a young girl called Polly who is abandoned by her hippy parents. Disobeying their list of dos and don’ts, especially the one about not touching the black remote control, she and her friend, Norman, end up inside the TV.

After battling with strange creatures and being tricked by media stars, she discovers that the world of the TV, so attractive on the outside, is chaotic, confusing and dangerous.

Should she follow her peers, who try to trick her into killing an innocent creature, or fight for her beliefs and save a life?

The cast agreed that the highly visual play was perfect for the high-tech environment of the GPAC. I talked to some of them in the rehearsal rooms before it was staged last Saturday.It’s an amazing experience,’ said 12-year-old Jasmine McCutcheon. ‘Being one of the first to perform here is really cool.’

Zoe Corbin, 14, agreed. ‘It’s really cool because we’re the first ones. Loads of people will come and watch it.’

Did she feel under pressure? ‘Not really. But we know that we have to be really good.’

‘It’s more than just a stage,’ said Laura Paisley, 14, who was playing Statue. ‘It’s a dance and drama area – there’s dressing rooms and rehearsal rooms. It’s so cool, rehearsing in the same place you’re performing in. It’s been good to experience everything at once.’

David Marsh, 14, was playing Glimmer, the vain TV star who tricks Polly, and said he loved performing The Black Remote at GPAC.

‘It gets your emotions going… political issues, the war in Iraq. It makes you go through the emotions. It also gives you the hands-on experience of being the backstage crew.’

Nikita Le Prevost, 13, was playing the bat-like character called Nono.

‘I thought, like, “Oh my God”. I’m really excited.’

Nikita was wearing a complicated costume featuring retractable wings.

‘They’re very heavy,’ she said. ‘But I wanted to get dressed up.’

I watched part of their performance being filmed. It was only a 10-minute segment but it contained more action, snappy dialogue, atmosphere and special effects than many other productions manage in a whole show.

Tomorrow sees the GPAC debut of one of Guernsey’s most celebrated companies – Guernsey Youth Theatre – and its production of High School Musical.

Hannah Beacom, the musical director, describes the production as a close-knit project.

‘Along with Martine Legg, who has helped with the vocal coaching, I have taught the cast all parts of the songs and their dynamics. My husband, Andrew, has dealt with all the non-singing scenes, blocking who goes where, making full use of the stage and how they present themselves and Claire Ozanne has choreographed all the big numbers. I’ve worked with the band, which I have thoroughly enjoyed. Most play on the local scene and they have brought a real enthusiasm. On the night I will be playing keyboards. So it really has been a team effort.’

Hannah has been involved with GYT on and off for 25 years and she brings this expertise to the latest production – though she says, modestly: ‘We have had the fortune to have a talented and enthusiastic cast, which makes my job relatively easy.’

I caught up with the cast as they rehearsed at the Old Boys’ Grammar School in Brock Road.

The rehearsal room was heaving. Hannah and a keyboardist, drummer and bassist were pounding out music as the cast of around 60 youngsters enthusiastically joined in. The place buzzed.

Taking advantage of a rare lull, I asked some of the cast about GYT and what they hoped for on their GPAC debut.

Caitlin Sullivan and Tom Redhead, who are both 17 and go to the Grammar School, play the parts of Sharpay and Ryan Evans, who are the villains of the piece.

How did they get involved in the musical?

‘We were dancing at an after-show party at the Ambassador Hotel to the High School Musical soundtrack when choreographer Claire Ozanne told us that GYT were putting on the production and said, “You guys should audition”,’ said Caitlin. ‘So we did. We’ve done three or four rehearsals at GPAC already. It’s fab.’

At this stage it was only a week until the opening night but Tom wasn’t feeling the pressure yet.

‘I don’t get nervous until two minutes before I go on,’ he said.

Andrew Beacom was busy directing in the old theatre area.

‘I’ve been involved in GYT for 25 years and directed various small plays but this is the first time I’ve done a musical. I’m feeling the pressure, just trying to get it all together – the music, the dancing and the acting as well.’

Was he looking forward to putting the show on at the brand new facility?

‘I think it’s going to be brilliant. I was gobsmacked when I first saw it. I couldn’t believe something this good was in Guernsey. It looks just like a US school gym, which is a perfect setting for us.’

Tickets for High School Musical sold out in five hours, which bodes well for the opening night.

Sam Meader, 17, who plays Chad, was enthusiastic about the GPAC.

‘It’s a pretty awesome building and a brilliant stage. Guernsey needed it.’

His fellow jock, Zeke, played by 16-year-old James Sinclair-Stott, agreed.

‘We wouldn’t have been able to put on a production of this size without it,’ he said.

Like Tom, James wasn’t feeling the squeeze.

‘I don’t get nervous any more. I just want to get on stage.’

What better way of rounding off a story about Guernsey’s new performing arts centre than someone raring to use it?

To all involved – break a leg.