“What a lot of rot!”  This accolade would certainly thrill the cast and directors of this year’s Wynberg schools’ production, Dry Rot by John Chapman.  The familiar elements were all there in an old-fashioned rollicking romp – sliding doors, concealed identities, hazards on the staircase.  Farce needs to be brisk, entertaining and ludicrous, and this performance certainly was!  Congratulations to Paul Lensen on a job well done.

It is a rare pleasure to be able to say sincerely that every one of the cast was confident, well versed, polished and extremely able.  Accents were excellently consistent and gestures were appropriately bold and sweeping.  No-one could have done better as the self-absorbed Colonel than Richard Mandy; the ever business-like wife (Olivia McCarthy); the strident, gawky maidservant (Kathryn Luyt); the vivacious daughter (Lisa McLaughlin); the bewildered personal secretary (Ryan Carstens); the plausible con-man (Andrew Thorburn); his uncouth sidekick (Edmund Rodseth); the synthetic racetrack swindler (Keenan Oliphant); the frenzied French jockey (Tim Gates); and the feisty, accident-prone policewoman (Sian Murray).  It would, in fact, be unjustifiable to single out one above the other, although I must admit I had my favourites.  Here’s one hint: to the names of Michael Caine as Alfie and Peter Sellers as ‘Pearly’ Gates, you can now add Andrew Thorburn as Alfred Tubbe – but don’t trust him for even a moment…

A wonderfully enjoyable production – congratulations to all involved.  And oh, what a lot of rot…                      
                                                                                                   Clyde Broster

It was with mixed emotions that I responded to Keith Richardson’s invitation to write this review of the Wynberg Schools’ production ‘Summer Holiday”. Mixed because, for so long, the late John Baxter unfailingly asked me to write up my impressions of his shows  that I was able to attend. Now, following his death, I thought this was to be a new era in the shows of these two famously collaborative brother and sister schools – things might be different!

I needn’t have worried! So much of the team was still together – the elements were all there! The sheer joy of movement and of song from what seemed like hundreds of young dancers and singers – a wonderful sound from an even bigger and better band – magnificent costuming and choreography – immaculate scene changes from one end of Europe to the other – and, shaping the whole, the magnificently sure hand of Daphne Jubber, guaranteeing a lightness and brilliance to all aspects of this effervescent and eye-catching show!

There is something whole-hearted and joyous about the Wynberg School’s productions, whether straight or musical. Nothing is skimped, everyone is committed and giving of his or her best to ensure success. I looked for – and found – all the hallmarks of previous shows: wonderful ensemble work, big groups and small, pockets of interest in all corners of the set, a surging pace, nothing left to chance and, Summer Holiday Review in a show like ‘Summer Holiday’, replete with visual gags (that moving bus!) and good humour.

Some of us, members of the audience of a certain age, found ourselves, feet tapping, fingers clicking, transported by ‘Bachelor Boy’, ‘Living Doll’ and ‘The Young Ones’ to an earlier, half-forgotten age. What a treat to have the youngsters belting the numbers out. I thought each of the leads, boys and girls, gave it all they had – acting, singing and dancing with energy and aplomb. Barbara and ‘Bobby’ interacted well together and the guys kept their characters, playing magnificently thoughout.

The Moulin Rouge scene was a highlight for me! There was excellent supporting choregraphy in the post-interval Alpine scene – all the youngsters moving so well. The direction of the final scene and curtain-call took nerves of steel! Talk about licensed mayhem! It was a major tribute to Daphne Jubber’s sense of timing that it never descended into hysteria but the show remained afloat, in hand, rocking and vibrant to the end.

Hats off to those marvellous backstage crew, managing all that furniture and stuff! They would put Stuttafords Van Lines to shame!

The final, rousing scene ended the show on an amazing, up-tempo note. As the audience streamed up and out of the hall, one could be forgiven for agreeing with the sentiment written on a foyer poster – “ Somewhere, up there, John Baxter was smiling – and shining down – on a scene closest to his heart.”

Heartiest congratulations to the Director and everyone associated with the excellent and hugely entertaining production!                       
                                                                                                   Neil Veitch