Abingdonian 2018

17 www.abingdon.org.uk Lent Term always the ones we wish for, especially in the terribly random context of war. The production featured a great performance by Molly Pavord as Conductor 71, whose earthly alter ego was re-imagined in our version as infamous WWI spy Mata Hari. Molly not only impressed in her dancer’s movement and mastery of a Dutch accent, but also sang beautifully, supported by the live music provided by Dr Jason Preece, Hayden Ramm and Jacob de Jongh. Arthur Musson and Archie Gittos each brought their own kind of flair to the heroic and beleaguered pilot protagonist, while Eliza England and Amelia Wilkinson showed emotional delicacy and skill in an ensemblean ensemble cast that tackled a multiplicity of roles with gusto, whether playing airmen, surgeons or a range of historical figures. One memorable scene involved a physical theatre version of a table tennis match in which Eliza and I were lifted and spun in the air by a team of long-suffering fourth years. The production would have had far less impact without the spectacular and ethereal set, created by Nick Lloyd, George Killick, Emma Fever and the rest of the industrious Technical Crew. The glowing spheres hanging from the roof of the auditorium represented the universe and created a vivid image that brought a sense of a life beyond death much closer for the upturned faces of the audience. The sinister base costume of white surgeons’ gowns and masks set the tone at the beginning of our play for the otherworldly events. The period-specific costumes, designed by Emma Fever, were equally remarkable and enhanced the action considerably. Overall credit has to be given to our two directors, Jeremy Taylor and Max Hutchison, who strove from the beginning for a style and outcome I never thought would be achieved. Through their hard work, we were able to stretch and extend our own (and Mr Lloyd’s) creative limits to best deliver what I am proud to call my final production at Abingdon. Joseph Salter, 7OTL At the head of the 22-strong cast was Upper Sixth drama scholar Joseph Salter in the role of Dr Frank Reeves, the local GP and neurological expert who studies Peter Carter’s symptoms and reassures him about the outcome of his appeal to the heavenly court. Joseph drove the action forward with a powerful energy and bold physicality, not least in the delightfully choreographed game of table tennis, in which lessons learned from rugby line-out drills proved invaluable as players were lifted high above the stage in slow motion. Joseph is a very talented actor who has also been an exemplary drama scholar and supporter of Abingdon drama throughout his time with us. Jeremy Taylor