THERE are three ways to learn: regular school and university; the university of life; and, importantly, the stimulating university of theatre.
When will the public realise the value of the arts? Whether it’s a French farce, a Shakespeare tragedy or Stones In His Pockets, if it’s to be produced properly then those involved must learn the background, the history must be researched – what was going on at the time, the condition of the country, the fate of the people, the lifestyles of the individuals.
Take the production opening at Belfast’s Opera House on Thursday evening. When Miss Saigon bursts on to the stage it will take the audience's collective breath away – 80 young people acting out the story of a doomed romance between a 17-year-old South Vietnamese bar girl and a young US Marine.
Set in the 1970s, this is a tough and complex story which has been played out all over the world but this local production is different. The beauty is that all those on stage are the same ages as the boys and girls in Saigon and director Tony Finnegan is careful to educate his company in the history of the time.
When I arrived at rehearsal he was talking through the horrific story of two cultures going head to head, the intervention of United States, the horrific napalm bomb dropped in 1972. His cast are mature and enthusiastic and listen closely, exploring motivations, all good for life outside the theatre.
Tony agrees that theatre is an important life experience: “It teaches young people to mix, to react to discipline, promotes self-esteem and confidence and above all to take responsibility.” How important when it comes to applying for a job.
Special show
This is a production specially adapted for teenagers by West End producer Cameron Mackintosh and while the adult ingredients remain, some of the language has been edited.
Tony explains to the cast how, at that time, girls were having to survive through prostitution and he has his special way of communicating.
“Put it like this: if it was a restaurant, the prostitute GiGi would be head chef; the other girls are working under her control.”
Musical director Wilson Shields has been involved in GOH pantomimes for 15 years and he says it’s like coming home to a building where the acoustics are as impressive as its historic past.
Like Tony, he’s strict. Call times for rehearsals must be observed to the minute, the 17-piece orchestra, most of them of school age, have been working on the score for weeks. By the time they arrive on stage before both men everyone will have read through the score – no dialogue, all singing – so the entire company must know every word and how to articulate it. From where I was sitting they succeeded.
Talking to the cast reveals that they are devoted to theatre and this particular show. Ewan McGowan-Gregg has taken minor roles in order to concentrate on shadowing the director because directing is his ultimate aim.
“Tony is one of the best in Ireland,” he confirms. “He has charisma and you can relax with him, he’s not your mate and he’ll pull you up when necessary but he’s a mentor.”
What has he learned? “To be prepared!”
Sixteen-year-old year old Ronan Johnson plays GI Chris. He’s a GCSE history student from Crossmaglen who classes himself as an actor and a GAA footballer. He has studied the emotions his character goes through – so young and so in love with the bar girl – but such is the way of war, he’s forced to take the last helicopter out of Saigon, leaving her behind, heartbroken and not knowing she is carrying his baby.
Louis Fitzpatrick’s complex character is John, friend of Chis who brings the sweethearts together for their first night of love and when the war is over tries to reunite the two despite the fact that Chris has since married.
Louis is off to The Royal Conservatoire of Scotland next year to study film and all the theatrical experience he can get he knows will be useful in the future. For Harry Blaney playing Thuy, this experience will stand him in good stead for a career in fashion journalism and the year out which comes after Miss Saigon will be spent travelling round the UK and Europe organising interviews and making contacts.
Again, theatre is giving him confidence to strike out and has given him an insight into other cultures.
But it’s not all acting and singing
Vital to any production is the ‘tech crew’ – those involved in lighting, set and props – and this is where 17-year-old Aideen McGaharan comes in.
“There’s so much to learn so quickly, like making props and moving the set As I’m going to be a director this aspect of theatre is important,” she says, adding, with a smile: “The cast rehearse, the technical crew prepare!”
They certainly do as this technical crew have built their own huge helicopter for the outstanding scene depicted on the poster, a major visual during the show. This St Genevieve's pupil is proud of her work and now intends following her dream to go to theatre school or study drama at Queen’s University.
At the end of the day Tony asks for more than 100 per cent no less, another learning curve, no room for sulks or rebellion, just enthusiasm and an ability to work as a company.
And so I leave the auditorium. The place is buzzing, Jeanette and Katie are out sourcing costumes, choreographer Rebecca Leonard is on stage putting the bar girls and their boys through their paces, Wilson and Tony work together as they stop-start in order to get every move and every vocal just perfect.
I meet chief executive Ian Wilson on the way out and he’s excited.
“Out of 400 excellent audtionees we’re down to 80 and they are the best. Such talent. Another great Summer Youth production,” he says proudly.
:: For more information on Miss Saigon School Edition visit goh.co.uk
