'We used to rehearse in the driveway of my parents' house. I think our production took place the week after Macbeth and Martin Walker rather generously said "Oh well, off with the old, on with the new" as I took over command of the stage from him. I felt very pleased!' - Stephen Games, producer.
The Junior Dramatic Society's performance of "Noah" by André Obey was a remarkably well-organised and dramatically successful production. The very high standard of acting throughout the performance, and the mature interpretations of the main roles were truly amazing.
The choice of play was most suitable. But the younger boys, while enjoying themselves immensely as animals running in and out of the ark, produced at the same time a fascinating visually dramatic effect.
The deeper implications of the play were felt and successfully communicated by many of the actors. This awareness was especially apparent in Philip Barnett, whose seriously sensitive interpretation of 'Ham' - Noah's 'rebel' son - was most convincing, and Richard Salter, whose interpretation of the somewhat difficult role of 'Noah', was extremely perceptive. Salter, who was probably the most mature actor, sustained a remarkable performance in which the 'serious' aspects gained in effect from the comedy.
Although the three charming young ladies, 'lent' to the society, all displayed unmistakeable talent, none could compare with the school's own 'Mrs. Noah'. This astounding female impersonation by Philip Sallon was uncannily convincing. 'Mrs. Noah' proved an amazing contrast to Salter's wise and placid 'Noah'. Also outstanding was Jim Taylor's spirited portrayal of the 'Man' who jeers at 'Noah'.
Congratulations to all those concerned in the designing and building of a brilliant set.
And Stephen Games, as producer, together with Mr. Woods who "assisted" him, must be congratulated on a production which was full of life and movement, was extremely amusing - its success can be partly measured by the reactions of the young children in the audience - and yet at the same time sensitive and moving, and indeed capable of stimulating serious thought.
But above all, what was most pleasing, was the feeling that all concerned had thoroughly enjoyed themselves. Every one of them had experienced the joy derived from taking part in a dramatic production, and much of that joy was communicated to the audience.
Let us hope that this first-class production is just a fine start to a long tradition of Junior Dramatics in the School.
Nigel Rogers
Gaytonian, 1966