I just want to say what fun I have had over the last two weeks.

(Mark Gradwell, 2001)

I decided I needed to get back to my theatre and design roots to determine whether this work was for me. I chose RADA for its reputation, value for money and reasonable amount of time in which to learn the basics as I did not want to enrol on a year long course only to find I did not want to pursue design as a career. I had been working for two years since graduating and I thought how lovely it would be to spend two and a half weeks being creative as opposed to being stuck in front of a computer. However, the first few days were possibly the most intensive work since my A Levels. I thought I had paid for two weeks of torture ! I was on my holidays and spending 12 hours a day trying to justify my ideas and get to grips with technical elevations was too much. However, once the creative, research and practical worksho s began, I started to realise this wasn't a course I had to oass bN a learning experience I should enjoy and time to experiment with my ideas. The visits and being able to discuss my ideas with a wide range of professionals from props to costume and design was a fantastic opportunity and taught me a great deal about how to ommunicate with various people. The fact that I had by then decided what line of design to continue did not make me any less nervous on the day of the presentation. Public peaking has never been a favourite passtime of mine and, fuelled by an overdose of caffeine and fizzy drinks, I fear I may have spouted 15 minutes of unintelligible nonsense. The one comment I do remember was that my costume designs looked like Karate outfits. I thought you might like to know that I have just had my first week of lessons - in Karate that is I

(Chloe Burgess, 2000)

The absolute concentration required to wield scalpels sharp enough to perform the surgical delivery of ten scale models of The Old Vic quashed any remaining fantasies about Lady RADA before we, design students of the millenium, had even had time to discover (never mind curse) the coffee machine. Although the speed and breadth with which the course moves through its many diverse elements orecludes detailed experience to some extent, it allows students to get an idea of which areas of the design process might best house their skills. Thus a juicy creative energy freely produced ten fantastic designs and ten exhaustively inspired designers. The most significant aspect of RADA's brief induction in design is that it allows you to see what it means to design within the theatre without cramping your style. You leave able to choose whether to sign up for a further level of training or to use the confidence of (surviving) the final, supportive and melodramatic critique to go off and find other ways of entering the business. The Course is the only affordable and perhaps the best available opportunity. Tell the world.

(Clare Gaunt, 2000)

Having lived most of my life in Mexico and Eastern Europe, RADA was my first contact with British Theatre design. The mix of different backgrounds and nationalities at the School was stimulating, and a lot of us kept in touch for a long time after leaving RADA. The individual needs of every student were carefully met by the Director and tutors. The talks we had with designers, directors and other theatre professionals were instructive and inspiring and today I still remember their advice. Furthermore, during those two intensive weeks I finished preparing the portfolio that helped me win a place at the B.O.V.T.S.

I hope my letter can be a small indication of how important the Design Summer School is for young designers and I hope it stays open for for the benefit of many more generations of students.

Eloise Kazan  - February 2001