Roger Smith Appreciations

"Andrew de Candole and all the staff at Groombridge Place were very sorry to hear about Roger. Having hosted the GADS summer productions for many years, we got to know him pretty well! Roger was closely involved with the annual pre-production arrangements and was always a pleasure to work with, as well as a joy to watch on stage."

Barbara Maidment

Nobody will be surprised to hear that - even in his first appearance for GADS - Roger had three roles, but many will be surprised by the roles he took in that production of 'Arsenic and Old Lace'. The first was as set-builder, he was also a set mover, and finally he was the fifth ghost - a part with no lines in the very last scene. I remember it well because I too was a set builder and sixth ghost immediately behind him . Of course, he grew to be our 'leading light' both as a actor and as Chairman, but I shall remember him mainly as the most supportive of friends.

It was always a joy to be on stage with Roger - even when he was ad libbing, for nobody could ad lib as well as he. He had such fun in all the many parts he took and was a real team person who helped all his fellow players, even as he upstaged them.

True, he took some of the greatest parts on the British stage and played them with great distinction but I loved best his characterisations. He truly took on the life of the person he was playing and his timing, particularly in comedy, was superb.

David Homewood

Roger was to me the heartbeat and the soul of GADS, inspirational, talented and a great man. Gracious and very generous with new members and always gave confidence and reassurance at just the right time.

Above all, he was full of life and I will miss those sparkling eyes and cheeky smile, and the opportunity to learn so much from such a charismatic man.

Thanks, Roger, for everything.

C.M.Richardson (Bayley)

My introduction to GADS was with the seaside concert party put together by Sue Homewood.
I, along with many others, have a host of memories of Roger, but there are two that stand out.

On the Sunday prior to the performance I was helping construct the scenery. When it comes to using my hands I inevitably find that I have two left ones. I was given a task to do by David H. which, when completed, it only just passed his critical eye. Roger was engaged in a similar task and was having as much difficulty as me, but we worked together and somehow managed to complete it to David's satisfaction.

Although Roger was not always in the best of health, he was always first to roll up his sleeves for the less glamorous side of a production- even though he invariably had a large part to play on stage.

My second memory goes back to a Chris Lunn production. I missed an entrance, being unable to hear a cue, at least that's my excuse! Roger's head appeared from behind the scenery and the language he used was certainly not in the script. But, as was typical of Roger, my misdemeanour was completely forgotten by the time we got our hands too that inevitable post performance drink in The Crown.

Simon Kenward

My fondest memory was playing opposite Roger in "Outside Edge". I can still hear him say "Come on, Mim, chop, chop". He was a wonderful bully and we had such fun that production. I worked with him on many productions and enjoyed them all.

He was a great Friar Lawrence in Romeo and Juliet and I was the Nurse. We were both too young for the parts of course, especially as Christopher Lunn was playing Romeo. He was not much younger than we were.

But I think the funniest piece of casting which involved Roger and I (and Tony Kelly) was when I played the Nun who turned out to be the mother of twins in "Comedy of Errors". Neither of them could be made to look younger so I had to look very old! Roger really appreciated that joke.

Groombridge productions will not be the same without him.

Sue Homewood

Roger was the life and soul of Groombridge Dramatic Society and GADS will never be the same again. I am, like so many of you, walking around with a heavy heart but hope this tribute will lift our spirits and help re-dedicate ourselves to producing drama of the highest quality. Roger would have wanted it.

My memories of Roger are all happy ones. When I joined GADS in 1984, I acted with him in 'Hamlet'.
As a novice, he gave me great encouragement, so I came back for more, to face him on stage in 'The Dresser' and 'Whose life is it anyway. I tried to throw him on the last night of 'The Dresser' by thrusting a signed photograph of a young Terry Wogan into his hand with the lines- 'This is my grandson, not a pro, taken prisoner in Tripoli.' Roger pushed the picture back at me with the un-scripted lines 'He's an ugly looking boy, isn't he'. The audience laughed, I laughed, but Roger just stood there glaring at me. In the lifetime of silence and absolute horror that followed, I frantically fought for my next line, but to no avail. 'Weren't you going to say goodnight', he gestured, at which moment I hurriedly left the stage. Never again did I try to pull a trick on Roger.

He persuaded me to join GADS committee in 1986, and later that year we collaborated on Alan Bennett's hilarious comedy 'Habeas Corpus'. His sense of fun came through very strongly in the play and memories of his performance as Mr Shanks coming on stage without his trousers still brings tears to my eyes.
On my return to GADS in 1998 I was greatly honoured by his invitation to handle production for 'Much Ado about Nothing'. We had so much fun, spending over 6 months on the project from start to finish, and the play was a great success.

Our next collaboration was to be 'The Merry Wives of Windsor', and I had also asked him to help me direct a comedy this winter. 'I don't know why you need my help', he said with much modesty.

He was a good friend, but he left without saying goodbye. I can forgive him that, but cannot forgive myself for not seeing his failing health. We always expected so much of him, and he never once let us down. Roger had achieved so much in his life, yet still had so much more to give.

Shortly after Roger's death, I found myself clinging to the words of a Neil Diamond song in which he recalls the achievements of some of the 20th Century great achievers. Somehow the lines convey my feelings of his sudden departure.

"And each one there has one thing shared.
They have sweated beneath the same sun - looked up in wonder at the same moon - and wept when it was all done - for being done too soon."

He fired my love of drama and the theatre and I will be eternally grateful to him for that.

Ray Donelan

Roger was greatly loved and admired by so many people, not only for his many wonderful on-stage performances, but as a warm, kind and friendly person to everyone who crossed his path. We shall miss him terribly.

A man of many parts: well Roger was certainly that and his stunning performances in so many diverse roles will stay in the memory as will his
charm, humour and kindliness.

I had long steered clear of GADS, suspecting an attack of the 'raving lovies'! However, Roger was welcoming, good humoured and not in the least anally retentive! He was a good chap. I shall miss him.

I loved acting with Roger and being directed by him - but what a complex character he was. At times capable of being totally professional and the next moment behaving like the worst possible ham.
In a minor role he could be very naughty. Certain people will never forget Roger in As You Like It, approaching across the stream at Groombridge Place, waving a peacock feather, making incomprehensible noises, mostly rude and
blatantly stealing the scene, to the chagrin and
irritation of those involved.

In 'A Christmas Carol' Roger and I had the small roles of Mr and Mrs Fezziwig. At one stage he had to give me a present - a brooch in a box. On the last night the box contained a set of false teeth. I swore revenge, but of course as time went by it just made me laugh.
Many people found Roger's ability to ad-lib his way out of a crisis unnerving, but he was rarely selfish on stage and I knew I could rely on him to pull me through

The Aspern Papers - Roger and I stand upstage by the door to my room. There is a long pause. I look at him. He looks at me. I wait. Panic starts to rise. Why isn't he saying anything? I look at him again - he mouths my next line. Crisis over.
Last year I directed my first summer production -
Merchant of Venice. I knew Roger desperately wanted to play Shylock. In the past I'd seen him audition really badly - barely making the effort to speak properly or with any feeling. But this time, from the moment he opened his mouth, I knew I had found my Shylock - the accent was just right, the emotions were already there.

At the first rehearsal Roger already knew most of his lines for the first half of the play. I depended on him a great deal throughout rehearsals - fortunately we agreed on most things. He went on to give some really wonderful performances. I shall always be grateful to him.

Now we've started rehearsals for this year's summer production - Merry Wives of Windsor. I've got a great cast and back-up team who I know will work together to produce a memorable show. Roger was going to direct this play but he'd got no further than a few notes in the Arden edition.

I hope the result will do him credit - but
I do miss him so very much.

Janet Sharples

1973	Arsenic and Old Lace – Officer Klein	1991	Interior Designs - Director
1974	A Man for all Seasons – Henry VIII		Twelth Night - Sir Toby Belch
1975	Rozencranz and Guildenstern are Dead - A trajedian		Treasure Island
1976	The Play of Hadrian VIII – Cardinal Berstein	1992	Pity about Kitty – Director
1977	The Cherry Orchard – Epihodov		Servant of Two Masters – Truffaldino
1978	Macbeth – Ross		Babes in the Wood – Baron Hardup
1979	Romeo and Juliet – Friar Laurence	1993	A View of the Acropolis – David
1980	Guinea Guinea Pig Pig - Andy		Comedy of Errors – Antipholous Aephesus
	Hotel Paridiso – Anniello		Seasons Greetings – Director – Bernard
1981	The Shop at Sly Corner – Descius Heiss	1994	Suddenly at Home –Sam Blaine
1982	Joan of Arc –Cauchan, Bishop of Beauvais		The Proposal – Chubukov
1983	The Taming of the Shrew – Baptista Manola		A Midsummer Nights Dream – Oberon
	The Big Game		The Murder Mystery – Q
	The Norman Conquests – Norman	1995	The Aspern Papers – Henry Jarvis
1984	There goes the Bride - Dr Gerald Drimmond		The Tempest – Stephano
	Hamlet –First Player		Lord Arthur Saville’s Crime – Director
	The Dresser – Sir	1996	The Bear – Grigory Stephannovitch Smirnoff
1985	Whose Life is it Anyway – Dr Emerson		The Country Wife – A Quack
	Sinbad the Sailor – Tinbad the Tailor		Pravda – Michael Quince MP
1986	Outside Edge - Roger	1997	The End of the Pier Show –compere/artist
	Mother Courage – Army Chaplain		Anthony and Cleopatra – Dolabella
	Under Milk Wood – Narrator 2		Les Liaisons Dangereuse – Footman
1987	Habeas Corpus – Director, Mr. Shanks	1998	An Englishman Abroad – Director
	Measure for Measure – Vincentio, Duke of Sienna		Macbeth – Porter
	Aladdin – Widow Twankey		When we are Married – Alderman Joseph Helliwell
1988	Move over Mrs Markham – Henry Lodge	1999	The Family Silver –Sir Keith Hardingham
	Cymbeline – Frenchman/Apparition		Much Ado About Nothing – Director
	A Christmas Carol- Marley’s ghost /others		The Tinderbox – The King
1989	As You Like It – Oliver/Sir Oliver Mantext	2000	The Merchant of Venice – Shylock
	The Entertainer – Arthur Rice		An Inspector Calls – Arthur Birling
1990	You Should See Us Now -Director
	Macbeth FAHETWGDS – Stage Manager
	Lear – King Lear
	Robinson Crusoe – Mrs Crusoe


	Roger as Shylock (Summer 2000)	Roger Smith, who died unexpectedly on New Year's Day 2001 at only 63, will be sorely missed. Not just by his family, but by the thousands of people who over the years enjoyed his performances on stage, especially for Groombridge Dramatic Society (GADS). Roger was born in Manchester and went to Bradford Boys' Grammar School. He started work with Tate & Lyle in 1958 and the job brought him and his family to Groombridge in 1972. At Tate & Lyle Roger eventually became general manager industrial sales. Following early retirement in 1994, he undertook consultancy work for the company, involving frequent trips to Saudi Arabia. Roger joined GADS almost as soon as he arrived in Groombridge. Over his years with the society, his contribution was immense. He acted, directed, served on the committee, produced the newsletter and was chair of the society for several years. He was always on hand for the more mundane business of putting on a play - erecting scenery, clearing a set, working backstage or front of house. It is as an actor that he will be best remembered. Outside Groombridge he occasionally lent his talents to the Pantiles Players and TWAODS, but for GADS he proved his versatility. He produced moving performances in major Shakespearean roles such as Lear and Shylock but was equally at home with modern theatre. He was also a valued director with productions such as Much Ado About Nothing at Groombridge Place in 1999 and was working on his forthcoming production of Merry Wives of Windsor for this summer when he died. Away from the stage, Roger was a supportive partner, a loving and proud father to his three daughters and son and an adoring grandfather to his five grandsons. He was a loyal friend who will leave a tremendous gap in so many lives.
From his debut in 1973 in 'Arsenic and Old Lace', Roger performed in more than 60 major GADS productions.