English
Department

Senior School Drama

The Crucible.

This year, there will not be a full review of the school play; instead a review of past plays from an often forgotten aspect. It will be a review of those whose work is often unrecognised by critics and inevitably by the audiences especially when things go right (sic). The audiences are quick to criticise the actors when things go wrong - but if things go right the audiences extol - quite rightly too. In the same way, If the scenery is poor, the scene changes messy or the lighting effects faulty, this is criticised too - quite rightly again. But if the back-stage work is good, it is often unnoticed because what they do is enhance what would otherwise be unsatisfactory acting. Backstage people can save a performance and often have done in Runnymede plays. This article is a recognition of the brilliant preparation and backstage work of all of our plays in the last ten years - it is a recognition of the forgotten to restore the balance in dramatic appraisal.

But first, a small review of this year's play which was a return to 'The Crucible' (arguably the finest play of the 20th Century) to the Runnymede stage after ten years. it was first performed by the school in a hired theatre. For the first time, Runnymede college had the availability of a formal stage of its own. In the new premises the initial impression of the stage was not favourable. the stage is small and the acoustics of the hall appeared doubtful with great areas that swallowed sound like a black hole and other areas which echoed like the walls of a canyon. However with correct projection and the presence of an audience and flats, the doubts proved unfounded. The old blocks increased the size of the stage and the stage lights used in the old gymnasium were set up and proved effective.

The performances were high-lighted by the magnificent acting of Sandra Heath as the reserved but passionate Elizabeth and James Gomme as the disintegrating Hale. After difficulties in rehearsals, Ashwin Uttamchandani also acted extremely well. If he slightly under-stated John Proctor, he has proved that he has all the talent to become a professional actor if he so desires as do the other two mentioned - Sandra is actively thinking about it. The other performances were characterised by energy led by Alexandra Burdett as the frightful Abigail Williams. Dramatically, perhaps the most difficult role was movingly portrayed by Tania Amin (another potential pro'). She played Mary Warren, a weak timid girl swept up by events; it required all Tania's talents to create the necessary pathos. Juan Zelada supplied his beautiful musicianship between scenes. What a talent he is.

But it was back-stage where this year's brilliance was apparent - notably in the 'performances' of Serene Assir and James del Campo, both of whom were doing their swan-songs for the school. Reader, it needed to be seen to be believed how much work they put into their work - and not only those two. Leonor Sierra, Sonia Cooke, Mari-Jose Sordo, Alicia Lopez and Estefania Pinochet all worked with patience and imagination. The scenery and costume were wonderful - the flats , props and furniture took many hours to prepare and collect. James, the King, was ill a lot of the time but never failed (as in the years before) to put in all the effort necessary for a successful outcome. Serene designed sets, made clothes with Sonia, adapted the final scene, designed the programme with Sandra and finally had time to act for the first time in her life, a delightful cameo part in which she actually included singing on her own initiative. Leonor Sierra, the Queen of back-stage in previous years said she did not have much time for 'helping' this year but was never away from the hall as it changed from dining-room to being a real theatre in the two weeks before performances. The other three mentioned, worked no less hard to perfect the scenery and scene changes and as they are still at the school, the succession is presumably assured.

For succession it is - they are the heirs of a hall of glittering monarchs - remember Rebecca Thompson and Cristina Alonso, who suffered from nervous exhaustion after the energies of preparation. Remember Chiara Priorelli, also a fine actress, who sacrificed a part in a play to organise a team in the preparation of that damned plant (in three stages of life) in 'Little Shop of Horrors'. Remember Ileana Portugués with all her 'connections'. Remember David Carretero, the creator of lighting - so many memories of their hard work and the feeling of team. Actors are notoriously fickle. Sorry, to the exceptions.

My fondest memories are the unflagging support and encouragement from these 'work-horses' at the end of yet another ghastly dress rehearsal.

The school is empty , the light outside is fading as disaster stares us in the face and the only joy left is the stage and the set which is still being prepared with loving care by the few left in the hall. Those left are the dedicated crew and it is they who initiate the decision that the show must go on.

I'm sitting on the stage with my head in my hands. It's ten o'clock at night and James walks up:

'Have you seen the hammer, sir?'

I get up and we go find it.