National Operatic & Dramatic Association
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Flint St Nativity


16th November 2017


Guilden Sutton Players


Guilden Sutton Civic Hall

Type of Production



Anna Morris


Author: Budge Grounsell

The Flint Street Nativity. Guilden Sutton Players. 16th November 2017


For most of us I expect the yearly Nativity play is a chance for Mothers to see their offspring in the limelight and to be ready, camera poised, to capture those magic moments when our Charon or Lloyd announces to the world that one day Margot Robbie or Daniel Craig will have to move over and give way to real thespian talent. For Dads well it’s “how long does it last “? “I ‘ll get away from the office (for which read pub) as soon as I can.|” it seems so simple doesn’t it, don’t be fooled.


If you want to see an exhibition of lying,very fertile imagination,


backstabbing and naked ambition in action, you really need look no further


than your local primary school. Flint Street is a study of infant power-politics

akin perhaps to the corridors of power at Westminster: less a cute, end-of-

term entertainment than a kindergarten version of the Godfather, complete

with jealously engineered vendettas, emotional blackmail and severed heads.

In this case, it's Jesus who gets decapitated – the outcome of a long-running dispute over whose doll gets to play the Messiah. It exposes what a lions den of childrens power-politics the staging of your average Nativity play can be.


Don’t be put off, this is an extremely funny play allowing adult actors to

regress to primary school behaviour;  and how well these Guilden Sutton

Players did it.From the initial action when scurrying about the classroom each involved in their own machinations they maintained their individualcharacterisation brought out by Director Anna Morris who did such a fine job

in bringing the whole picture to life and who also played a “Gabriel”

determined to be “Mary” . Doubtless today so called “experts” would have read a form of transvesticism into this..hey ho! As you have expected she had her slightly sychophantic angel alongside and a strength of character that made her a force to listened to by others.


The cast were all very good; each wrapped in his or her cocoon. The budding astronaut living thro his uncle who is an astronaut, the brooding Innkeeper sings sadly of how his father smells of beer the bluff Shepherd, who hasfirst-hand knowledge of the birthing process: "You moo a lot and the babycomes out of your bum covered in yak."  and “my dad, a farmer, says you’d

never have oxes and asses in same stall as they have different bone meal”

Mary feeling strained by intense parental pressure and further pressure fromthe “angel Gabriel”. What lies behind the lifting of the donkeys head and the cry of “look there’s my social worker. It made one wonder about what manner of families they came from and what dysfunctional adults they might be destined to become.

All of this gave grist to the mill of comedy which poured out from every lineand action.I haven’t named the characters individually they were simply the class to whom fell the lot of the Nativity play but it was a classy performance all round. Eventually they morphed into their parents but it might have seemed they were all just chips off the old block.

Margaret Corlett provided us with the music which played such an integral part in establishing the various characters.The Set was simple but practical, if I closed my eyes I might have been back in Miss Taylors class in my own primary school or my childrens or grandchildrens. Some things do not change. Lighting, sound and props were more than adequate and the costumes were just right. The stage crew are always a  vital part of any performance as is the hopefully never heard prompt.

Congratulations to all concerned with this production. Budge.