Arts Personality of the Year

Few people have had a greater or more wide-ranging impact on the artsUCL community this year than Aran Baskar. His contribution has not been limited to one society, role, or activity; he has been a constant presence as a leader, technician, collaborator, mentor, and source of support.

As President of Stage Crew, Aran has played a central role in enabling arts activity across UCL. Stage Crew has supported over 120 shows across UCL and Fringe this year, working with around 15 societies, and Aran has been at the heart of making that happen. He has been involved in almost every show, especially in the Bloomsbury Theatre and Studio, helping to organise productions, support crews, solve problems, and ensure everything runs smoothly. Much of this year’s activity has depended on his time, judgement, and labour.

Aran is especially deserving for the quality of his relationships. He has built strong connections across the performing arts community and is someone people trust and turn to for help. He has supported shows technically while also helping students through difficult situations, including welfare concerns.

His range of activity has been extraordinary, working across productions from stagehand to lead crew, including major shows like Rhapsody, while also directing and producing Fringe shows. He has helped develop others through training and workshops, contributing to Stage Crew’s growth.

Above all, he has helped make the community more collaborative, ambitious, and supportive.

Pola has been consistently involved in artsUCL this past year, from directing Dance Society’s Bloomsbury Production Déboussolé with over 100 cast members, to leading DanceIT! volunteering, choreographing for Rhapsody and running a spotlight workshop with MT. She brings collaboration and creativity to every project, but what sets her apart is the support and enthusiasm she brings to every interaction.

Directing Déboussolé, Pola transformed the Bloomsbury Production from a show into an experience for cast and audience. She ensured everyone felt involved despite the triple-digit cast, building the show around prompts and reflections from dancers. She introduced interludes—short choreographies that deepened the show and allowed anyone to choreograph or perform in any style. This approach made new styles accessible, with 64 dancers involved and 22 taking creative roles.

Her leadership was considerate and collaborative. She worked closely with assistant directors and introduced a termly feedback form. Her work extended beyond dance, including creative media and a Film Society trailer. Bold choices—like the hanging lightbulb motif, plus paint, fabrics, and handheld lights—brought cohesion and creativity.

Alongside choreographing across five styles, she worked beyond Dance Society, including Holding Out for a Hero in Rhapsody, and led accessible workshops, supporting performers’ confidence and versatility.

In her only two years of study, Paula has taken the theatre world by storm. As well as championing new writing and platforming new creatives via her committee position as UCL Musical Theatre Society's Head of Productions. Most recently, she served as Director of An Evening of: The Last Five Years (2026), which is a new concert-based format she saw to the genesis of. This unites the Musical Theatre Society and the Live Music Society and celebrates all parts of a show, rather than only celebrating the performers. Additionally, Paula has directed other shows, such as Hamlet (2025) and Twisted (2025).

She has also given her time to countless theatrical productions in various roles, such as Assistant Director (Against All Odds, 2025) and Assistant Movement Director (As You Like It, 2026) in other shows. Further, she has extended her range into production team roles (Sound Assistant in Next to Normal, 2025, Little Shop of Horrors, 2025, and Carousel, 2025; Head of Costumes in Falling From Heaven, 2025).

As well as contributing greatly to the life of UCL theatre, she has assisted behind the scenes of concert-based live music shows, where she has been Head of Marketing (Rise and Fall of a Midwest Princess, 2025) and Stage Hand (Rhapsody, 2025).

It is difficult to summarise somebody so singular as Paula in such a short statement, but Paula is honest, intelligent, and loyal to a fault - her approach to the Arts has made many people's artsUCL experiences worthwhile.

Ren has been involved across all avenues of artsUCL, including Musical Theatre, Shakesoc, Drama, Jazz, Live Music, and many more. As a committee member, prod team or cast member, they have been an immovable presence, shaping the humour and theatricality of every production they're involved in. Productions and events include this years' Spamalot and As You Like It; last years' Antigone, Be More Chill, Last Call and Cake; and the upcoming Merrily We Roll Along and Break a Leg, as part of artsUCL fringe. Across these productions, Ren has formed close connections with a wide range of people in the artsUCL community. Ren also served on the Arts Awards Panel this year for the Best Bloomsbury Studio Production award, using their expertise in musical and dramatic productions to fairly assess each production on quality, diversity and collaboration.

Across this year (and Term 3 of last year), much of Mary’s time has been spent directing shows. After directing Next to Normal last summer, in Term 1 they directed The Rise and Fall of a Midwest Princess with Live Music Society, then put on Spamalot with Musical Theatre Society. As part of artsUCL Fringe, Mary is now creative directing an original musical based on The Bacchae, whilst also co-producing another Live Music Society show. Mary was also Visual Artist for Richard II with Shakespeare Company, developing projections with the sound design team and assisting with AV during tech week. To finish the year, Mary is a lead role in Offshore, whilst they have also served as Treasurer of Drama Society for 2025/26.

Mary has built relationships across artsUCL, from organising Theatricality with four societies to collaborating with musicians, designers, and crew, and joining Stage Crew to learn backstage processes and lighting design. They created a new Drama Society reimbursement system, improving transparency, and introduced a new show format for Live Music Society with Midwest Princess, creating a gig atmosphere led by new members.

Their aim has been to ensure as many people as possible have a positive experience. Shows like Midwest Princess and Spamalot were designed to be fun, inclusive, and meaningful, and their work has helped create spaces where new communities can form.