Ogstoun Theatre, 9-12 November 2005
The Mysteries retell Old and New Testament stories. This musical adaptation of the stories marked the long awaited opening of the School's new theatre, and this in itself made the whole experience rather special.
The plays were originally performed in medieval times, but much more recently adapted poetically by Tony Harrison. Nigel Williams and his team of staff at Gordonstoun offered its own distinctive interpretation of the tales, and the performance by a large cast was striking in its exuberance and cohesiveness. Every aspect of the production gelled together seamlessly: the music, the acting, dance, lighting and sound complimented each other beautifully. The simple raked wooden platform stage set with ladders, a trapdoor and a platform was highly effective in its traditional simplicity, using three levels to represent heaven, earth and hell.
In juxtaposition, the music, dance and costumes gave the production a refreshingly modern vitality. It was uplifting from the very opening with the aptly chosen rendition of Praise You heralding the entrance of a wonderfully omnipotent God, played with superb stage presence by Roz Eleazar (Plewlands). The students were very impressive with their clarity and sensitivity when speaking Harrison's verse. The poetry is alliteratively ornate, and therefore not always easy to articulate. Yet the actors clearly felt confident and at ease with their expression. It is one thing to rehearse lines; it is another altogether to give the lines meaning and sincerity and yet sincerity was certainly in abundance in this production.
Another notable performance was that of Katie Brinton (Plewlands) as an imposingly Miltonic Lucifer, denied the pleasures of Heaven, and determined to cause as much trouble as possible in paradise. Oh yes - paradise! Colin Tarbat (Bruce) and Lucy McClelland (Plewlands) were highly entertaining as the world's first perfect couple, and gave a beautifully ironic performance of Sonny and Cher's I got you Babe. There was, following this, an extremely powerful interpretation of Cain and Abel. Ty Shepard (Altyre), playing Cain, forcefully uttered his lines as a bitter malcontent, and equal in strength to his performance was that of Rachel Fettner (Altyre), playing Abel. Another well-suited pair was Lily Nicksay (Hopeman) and Ramsay McBean (Bruce), as Isaac and Abraham, and the scene between these two was particularly moving. There was a beautifully detailed and almost slapstick scene with Serge Ndikum (Altyre) as a hen-pecked Noah, and Emma Barton (Windmill) as his shrewish wife.
The acting was convincing and what was impressive was the dedication the students had clearly shown in order to bring their parts to life. The dancing, choreographed by Sarah Da Bell with assistance from Laura Stockley, also offered evocative interpretations of such events as the Creation and work of the plough horses with Cain. Music provided by 'The Band', under the direction of Nigel Gaston, was so clear and well arranged, that it seemed we were listening to an actual sound recording. A number of students showed talents not only in acting and dancing, but also in performance of solo songs and duets: Roz Eleazar, Katie Brinton and Serge Ndikum to name but a few. There was a particularly haunting version of The Water is Wide performed by Ruth McPherson (Windmill) and Lily Nicksay during the Flood. The first half came to a rousing climax with Charlie Bradford (Round Square) performing The Butcher's Dance on the pipes after God had prevented Abraham from sacrificing Isaac.
The second half moved on to New Testament material. The serenity of Caroline Sellar's (Altyre) portrayal of Mary drew powerfully upon well known Christmas images but added much more: human dimensions as she dealt with the righteous indignation of a believable Joseph, played by Charles Duguid (Round Square), and wondered at the precious life in her arms in the stable. The Company caught up Caroline's hauntingly beautiful rendition of True Colours, introduced during the Cain and Abel scene, and carried it through, creating something of a theme linking several deeply moving moments leading up to the disturbingly vivid Slaughter of the Innocents. The power of contrast was exploited through interludes of compelling villainy akin to the best pantomime in characterisation, provided by Barney Johnson (Bruce) as Herod and Caroline Fraser (Windmill) as his son, and through equally diverting humorous scenes involving the three quirkiest kings ever to approach the Christ child and a clutch of bumbling West Country shepherds, hot in pursuit of their favourite bleating lamb, snitched from under their snoring noses by Jo Rodgers (Cumming) as a Chaplinesque Mak the Sheep Stealer. This contrast evoked the original flavour of the medieval mystery cycle, setting comedy and tragedy side by side, providing entertainment and moral instruction in the market place at an enjoyable, digestible pace over several days.
The bloodstained climax drew on visual and aural symbolism woven through the production from scene one. Lucifer, ever-present when evil was afoot, delighted as the crowd of mothers and babies, fresh from milling in innocent delight around Mary, were herded by masked, archetypal militia men whose blades and hands were soon steeped in gore. As Paul Cumming (Round Square), the original Grim Reaper, danced his way to the powerful strains of Voodoo Chile along the line of murderers - which unnervingly resembled the assembled disciples in da Vinci's last Supper in their arrangement - the final descent of man from Eden was represented as they fell one by one (Herod with particular flourish) into the smoking pit of Hell.
The overall impact was of having been taken on an epic dramatic and musical journey by Nigel Williams and Nigel Gaston, the Musical Director, and their teams through this innovative production of The Mysteries. It was accomplished and moving, demonstrating the staggering talent and professional dedication of the large group of senior students involved.
With thanks to Mrs Louise King and Mrs Christine Henderson for their excellent review of the production.