performance and choreography
With a ready source of talented young student dancer/actor/singers from the school we could produce a steady and appealing programme of shows. Sue was the catalyst and, with her own theatre connections, was able to make it work. It was a daunting task but she tackled it with her typical energy and enthusiasm. Many students, over the years, benefitted immeasurably from the added experience running parallel with their daily training. The following list of productions in which Bush Davies had a part is almost eye-watering in its ambition and scope. Sue is reminded of a remark, made by Joyce, after she and Daphne had watched a performance of Godspell, "Sue dear, when did all this happen?" Sue replied, "At weekends mostly and during the holiday, Joyce!" To their everlasting credit both Joyce and Daphne were supportive in the enterprise. They realised how important it was to get performance awareness, a quality that had been so ingrained from the example of their great mentor, Marjorie.
We wonder though, whether Noreen would have been quite so flexible? Perhaps not!
We have no knowledge of what happened in the 1960s at Charters or Romford and would be happy to rewrite, or add to this chapter if information is provided.
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