4 minute read
The Founding of the National Youth Theatre
FOUNDING THE NATIONAL YOUTH THEATRE
Michael Oliver (1946-47) shares his memories of its foundation.
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My first memory of the connection between the theatre and youth is an event that took place at school when I was about seven years of age. It was a pre-prep school, West Croft on Cricklewood Lane, north west London. There were two headmistresses Miss Challen and Miss Biggs and they must have had some thoughtful pleasure from acting. We were allowed to create and act in front of the small audience what I can describe only as a scene that could have been in a pantomime. In the middle of the stage was one of us dressed like some sort of animal while the rest of us were also clad but in an inferior fashion. The principal made clear his superiority to his servants who circled him, kneeling to his regal position, thus showing our loyalty. I do not recall whether we ever performed in front of parents: I think the unusual theatricality was confined to the pupils, to Miss Challen and Miss Biggs.
Memory moves on by 10 years, to St Paul’s School. It was a school in which acting and the appreciation of and respect for the theatre were inherent in its character and presumably had been so during the many hundreds of years since foundation. My memory as described in 2020’s Autumn/Winter Atrium is of a duo (Michael Codron (1946-48) and me) that took place with the consent and unlikely assistance of the English master. Not to dwell on it unduly but the piece may be regarded as an attempt by young teenagers of sophistication.
Time rolls on to some years later. I had continued and expanded my interest in the theatre, going to many plays and musicals, economically sitting in the highest circle or the lowest stalls. It was not therefore a shock or surprise to me when I had a phone call from Sandy Wilson, the celebrated creator of “The Boyfriend”, that he hoped that I would not mind if Michael Croft, English master at Alleyn’s, phoned me.
I did not mind at all because I had heard of Michael Croft and the way he had introduced his pupils to theatricality and he had arranged for them not only Shakespeare (conventional for schools) but other playwrights as well. I met Michael Croft. He explained that he was retiring from Alleyn’s and intended to organise a “club” of students that would know about and would be acting. And he wondered if I would help him to get it going. I thought it was a splendid and original idea and I had no reserve in telling Michael that I would help him in any way that I could.
Once Michael had completed his retirement the group had to abandon the use of Alleyns in its title. It became “The Youth Theatre”. Michael had to find places where it could perform and this he did with determination. I helped wherever and whenever I could and as it became more and more recognisable and popular. After quite a long period of activity and participation by young people from many parts of the UK it was not a presumption to call it “the National Youth Theatre”.
In London, a suitably sized theatre was found and the NYT audience expanded from fellow pupils, parents and family to one whose interest was that the young could form a theatre with such confidence and ability. There were occasions when senior politicians and royalty attended and gave the organisation a status that moved it into a truly national organisation, recognised by schools some of which encouraged their appropriate pupils to join the youth theatre.
A suitable office was found and the finance to allow full time organisational staff. It was not long before Michael Croft, advised by his lawyer and senior supporters, decided that the reality of the organisation entitled it to add the truth of its geography and wide membership to its name by being known as “The National Youth Theatre”.
Accordingly there was hope that the government would offer some financial assistance but this was a hope that had to be delayed for quite a long time. But in the meantime and miraculously, the theatre of the right size had been found in London. And there the youth theatre was able to continue its performances. Once national became part of that name, the theatre continued to be available and there were generous charity performances given by the famous such as Elton John.
As time passed, it was not surprising that some of the boys and girls showed the appropriate ability to become professional performers who left their amateur acting for the reality of professional theatre.
So, the National Youth Theatre became a home for pupils wishing to enjoy drama and showing their ability to their fellow students and, for a few, the first step on the journey to a professional career.
The National Youth Theatre blossomed and became respected by all.
