The Film and Media Issue Winter 2011
2 Contents
TheCholmeleian Winter 2011
Editors’ Notes
This issue celebrates the achievements of Cholmeleians in Film and the Media. Cover photo: from The Lost Thing, Andrew Ruhemann’s Oscar-winning animation. It was an appropriate time to theme an issue on Film and the Media. Not many schools can boast two Oscar winners, but Highgate had two Cholmeleians picking up the coveted golden statues in the same year. Tom Hooper was awarded four for The King’s Speech, justifiably one of the great cinematic successes of 2011, and Andrew Ruhemann was awarded his for his animation of The Lost Thing. Andrew gave us a memorable interview in this issue, bravely bringing his Oscar in a bag and carrying it on the London Underground! We also have an interview with Murray Walker, for many years the voice of motorsport, and two successful young OC journalists, Robert Nisbet-Smith and Kaya Burgess, working for Sky News and The Times, who talk interestingly about the ethical crisis currently facing the media. We hope you enjoy this issue, and look forward to your contributions to the Summer Issue by the end of March. Notes and news to the evergreen Michael Hammerson, please, on: Michael@midsummer.demon.co.uk The Editors Simon Appleton, William Kimberley Student Editors Pelumi Akinyemi, Simon Blackaby, Sorcha Bradley, Sophie Marquand, Ben Huston, Yaseen Kader, Toby Sharpe, Stuart Webber, Will Yeldham and Henry Zeffman The Cholmeleian Highgate School, North Road London N6 4AY email ocmag@highgateschool.org.uk telephone 020 8347 2116 website www.highgateschool.org.uk
Adam Pettitt with this year’s Joint Heads of School, Iona Davey (left) and Kostas Chryssanthopoulos The United Kingdom punches above its weight in the film and media industries, and it is good to know that Cholmeleians continue to be attracted to and find success in film and media. Even though media studies has had a poor press as an academic discipline, the study of and the creative work in film inform this generation’s learning , be that in the classroom or beyond. When it comes to the press, like it or not, revelations of investigative journalists’ relationships with private detectives, adept at hacking into mobile ‘phone messages, have spiced up several debates: the probity of a press (printed or on-line) in the hands of profit-seeking shareholders; personal privacy versus public interest; the hypocrisy of a prurient media readership. Never has it been more important that young people take a critical interest in the role and scope of a free press. As the date for works on Big School and its conversion into a library draws closer, we have turned our minds to the culture of reading. While questions over printed books or digital versions weigh heavily in the minds of those planning buildings and resources, we are keen not to lose sight of the importance of reading itself. We all, pupils included, have a greater choice of entertainment than our predecessors, so we cannot take for granted that reading, beyond a certain functional literacy, will develop unless it is promoted. The arguments for the pleasures of reading fiction need not be rehearsed here, but what of the potential pitfalls of not exercising our capacity to read critically and at length? Search engines play into the hands of impatient youth, fuelling and feeding their desire to find the answer, any answer, immediately. Add to that the tactile, auditory and visual pleasure of a machine which appears to hear us and to interpret our thoughts, and texts, with their demands for rigour and sustained concentration, make us a dry, dusty offering. Modular examinations, necessitating simplified, jargon-heavy answers which can be easily assessed on-line, supported by textbooks whose publishers are in cahoots with examination boards, set the scene for snapshot reading and partial understanding. But rather than complain, we need to be aware of the unintended consequences of new technologies and adjust our priorities and our teaching to ensure that each generation acquires the critical skills of information-gathering and close reading, synthesis and analysis. Highgate has a tradition of responding thoughtfully and creatively to challenge, be it the upheavals of the 1960s under the headmastership of Alfred Doulton, whose centenary we marked in September, or the revolution in information technology under my predecessor, Richard Kennedy. I hope that this is another instance of that same creative energy!
Adam Pettitt
Contents 3
TheCholmeleian Winter 2011
Regulars
Page 46
Feature Passionate About Pictures
News
4
Drama
34
Music
36
CCF
39
Archive
41
Profile
44
School Sport
50
OC Sport
56
Letters
57
Announcements
63
Notes
65
Obituaries
69
Clubs & Societies
73
Sorcha Bradley and Pelumi Akinyemi meet Andrew Ruhemann, Oscar-winning founder of Passion Pictures
News CBE for Christopher Morahan The Jewel in the Crown director is honoured Page 4
News Junior Doctor of the Year Daniel Magus wins BMJ award Page 5
News Rutter Anthem played at Royal Wedding This is the Day the Lord hath Made was specially commissioned for the Royal Wedding Page 7
Getting into Journalism
16
‘From our European Correspondent’ 32
News Hartlanders’ Last Hurrah! Wartime Evacuees’ fond farewell to the Abbey Page 10
Feature The Voice of Motorsport Page 60
Features
William Kimberley talks to Murray Walker about his life’s achievements
Passionate about Pictures
46
The Voice of Motor Sport
60
34 Drama
TheCholmeleian Winter 2011
Fiddler on the Roof
Sario Watanabe-Solomon as the poor Jewish milkman, Tevye, who dreams of wealth in Fiddler on the Roof Never ones to limit their ambition, the team who two years ago brought us a spectacular production of Les Miserables (Director Alison Brunner and Musical Director Gareth Hanson), decided to tackle the equally challenging Fiddler on the Roof in the Summer Term. This was an outstanding achievement; the entire production was approached with such professionalism, and resulted in such a tremendous show, that it was easy to overlook the fact that one was watching actors from the Lower School. The Drama Studio demonstrated its Tardis-like qualities in managing to accommodate, not only an enormous cast and full live band, but also an entire Russian village that had painstakingly been constructed (by technician Adam Burns) for the performances which would not have looked out of place in a West End theatre. When the eponymous fiddler himself (Peter Van Dongen) appeared on the rooftops in the opening scene, it was clear this was going to be a spectacular show. There was an array of fine acting and musical talent on display and particular mention must go to Sario Watanabe-Solomon who commanded the stage as the poor Jewish milkman, Tevye, who struggled to make a living for his three
eligible daughters (Charlie Brocklesby, Tilly Smith and Issy Jackson). He launched into classic hits like If I Were a Rich Man with great aplomb and displayed great versatility with his witty, yet poignant, portrayal. Beth Chalmers was excellent as his sharp-tongued
For all the hilarity of the Jewish humour and the merriment of the singing and dancing, the bleak situation in which the characters found themselves was impossible to ignore wife, Golde, and other notable performances included Richard Footman, Milo Saville and Ben Reed as suitors pursuing the three daughters. Intimate scenes contrasted with big set-piece chorus numbers including the opener, Tradition, and a brilliantly choreographed bottle dance to celebrate the wedding between Tzeitel and Motel. The memorable tunes and witty
dialogue meant that this was a thoroughly enjoyable show. Yet, for all the hilarity of the Jewish humour and the merriment of the singing and dancing, the bleak situation in which the characters found themselves was impossible to ignore. Oppressed from within the village by the suffocating grasp of tradition (where marrying for love is considered ‘radical’), and from outside it by the archaic and intermittently anti-Semitic late-Tsarist regime, the family and their friends faced a bleak world. Frederick Haslam was suitably sinister as a bullying autocratic officer and the naïve hope offered by the political idealist, Perchik, (Jacob Green) was checked by the audience’s awareness of the horrific revolution and political system which that idealism would soon create after 1917. At the end of the play, the characters departed for new lives outside of Russia. However, the sense of optimism and hope created was tainted by the knowledge that those migrating to America will have had a very different experience over the following decades than those who decided to relocate to Eastern Europe.
Alex Grant
Drama 35
TheCholmeleian Winter 2011
Feltham Blues
Carlo Lavarini as damaged hooligan Matt in Gabriel Owen’s hard-hitting debut piece, Feltham Blues Gabriel Owen’s (13 SH) self-produced and directed debut foray into playwriting was a tense drama set in Feltham’s Young Offenders’ Institution. Staged in the Summer Term, the play was enthusiastically received and raised high expectations for this young playwright (indeed the play is to be entered into the Royal Court Young Writers Programme this coming March). As the audience entered the Drama Studio, they were greeted by the stark, chillingly realistic interior of a borstal cell, complete with high, whitewashed walls, barred windows and three creaky beds. The studio was filled with the atmospheric sound of blues music, giving the set’s initial impression of cold realism a touch of ironic stylization. Understandably, along with the rest of the audience, I wasn’t quite sure what to expect from Gabriel’s play. After all, the piece was entirely self-authored something which, though an impressive feat at seventeen, might have encouraged lower expectations. However, with Feltham Blues, such worries were almost immediately put to rest as the show began. The play revolves around the lives of, and relationships between, three youths: Matt, the volatile but damaged football hooligan (played by Carlo Lavarini (QG 2011), Cameron, the savvy car thief (played by Tarik Basri (QG 2011) and Joe, the awkward but mysterious central character (played by Jake Williams (SH 2011).
The play is confined to the boys’ cramped cell and takes place over the course of a few months, their stories told through conversations with one another. The dialogue is appropriately crude, and the almost continuous atmosphere of
The dialogue is appropriately crude, and the almost continuous atmosphere of laddish joviality exhibited an impressive talent for authentic dialogue from Gabriel laddish joviality exhibited an impressive talent for authentic dialogue from Gabriel, with the line, ‘Who’s that guy, politician, big shiny forehead, acts like he cares about the country?’ ‘What, Hitler?’ ‘No, you know…David Cameron’ received a big laugh from the audience (indeed much to his own amazement Gabriel commented: ‘By the end of the rehearsal process I genuinely thought it was a totally unfunny, boring piece of writing so when I heard the audience laugh I was very relieved’). The characters came across strongly as a result of this static but dialogue-heavy structure, and, although moments in the performance
occasionally lapse into cliché, the overall effect is that of three, in-depth character studies, with Carlo, Tarik and Jake giving each character subtle traits and ticks to give the performance a sense of professional depth. Indeed Carlo’s portrayal of Matt as a twitching, near-schizophrenic young man who fluctuates between violent anger and touching vulnerability was met with particular admiration. Impressive too, was the powerfully awkward and unexpected ending, led by Jake Williams, who took the opportunity to demonstrate a very different side to his character. Tarik Basri, conversely, used his more understated role as Cameron to keep the pace of the piece throughout, undertaking touching monologues and leading the way through many of the conversations. The play, in my opinion, was a great success, not only for Gabriel (who has shown considerable talent in his variety of roles in this piece) but for Highgate Drama in general which has shown it is prepared to accommodate not only the School and departmental plays which are often performed, but the potential of their aspiring directors, producers and playwrights too. I hope that the example set by Feltham Blues will encourage not just the efforts of other students in this field, but the continued support of the School in aiding them in their attempts for many years to come.
Jack Saville (13 FG)
36 Music
TheCholmeleian Winter 2011
Music
Jonathan Murphy rehearses Highgate’s young musicians for the Nicola Benedetti Concert For the musicians at Highgate, the music department’s role within the School is of a different significance to the other school departments; for many pupils it has the greatest impact upon their school life and indeed, for some it is their life at Highgate. The department is ever expanding – the refurbishment of the Dyne House auditorium in December came alongside the opening of the Rothenberg Recital Room and various new practice rooms in the basement of Dyne House.
dates in the summer term – a master class from two members of the Calefax Reed Quintet. The whole of the world class chamber group has visited Highgate before – a group which the Times described as being able to make ‘the reed quintet seem the best musical format on the planet’. The two performers that visited were the oboist and the bass clarinettist, and they gave one to one advice to pupils based on individual performances. One of the clear messages they imparted was on the importance of performing
Two members of the Calefax Reed Quintet highlighted the importance of performing a piece, not just playing it. In addition to all the classical music played and performed at Highgate (which is a large amount, more often than not of professional quality), many pupils are beginning to embrace the choral tradition at Highgate and other genres of music are being given an equal stage – particularly Jazz in the Summer Term. However, regardless of the quality inside the department, it has been more than ready to organise educational visits to the School from some inspiring ensembles and soloists. Such an event was one of the first musical
a piece, not just playing it. Later in the term, pupils in years 7-10 were given the opportunity to attend an open rehearsal from Lontano, the School’s Contemporary Music Ensemble-inResidence. The group who claim, with reason, to be ‘synonymous with the future in music’, were rehearsing a new piece written by the academic composer Robert Keeley. There was no doubting the brilliance of the performers, yet the unfamiliar harmonies and meter of the piece raised eyebrows at first from their audience. However, the most memorable musical
visitor to the school was the renowned violinist, Nicola Benedetti. The Highgate Philomusica was formed especially for the event – an orchestra consisting of pupils from Highgate and other local London schools who were given the opportunity to accompany the star in a performance of Tchaikovsky’s violin concerto. After frantic rehearsals, the end performance in the packed Dyne House auditorium was quite something. The standing ovation at the end tells the whole story, and Benedetti’s praise of the pupils made the event one to remember for those young musicians. Highgate has produced some great musicians in its own right, highlighted by recitals in School from OCs. Sam Carl, a choral scholar at Glasgow University, who has received a DipABRSM, has had singing lessons in Italy and has been to Eton Choral Courses – fuelling his passion for music. His recital consisted of an eclectic repertoire, with pieces from Bach to Brahms. The last piece, Schumann’s Die Beiden Grenadiere was touchingly dedicated to Mrs Cometa, ‘the unsung hero of the music department’. One of the most influential teachers at Highgate for the past 15 years has been the saxophonist Mr Simon Stewart. His demanding approach to teaching has always encouraged the most from his pupils and the groups he leads.
Music 37
TheCholmeleian Winter 2011
Music
Mark Pugh shows his delight as Westgate win the House Music (Vocal) Cup His vision for every pupil has consistently been that they can perform at more impressive levels. He will be greatly missed as he leaves us to move on and run his family business. In his last term he was instrumental in the Summer Music Festival and he also treated pupils and parents by performing in a leaving concert. In this event, he played alongside the Paragon Saxophone Quartet and the B(l)ow Ensemble. The former was vivaciously led by Mr Stewart on soprano saxophone, and succeeded in really cementing the notion of having a classical chamber group consisting of saxophones. The latter was a string quartet which performed with Mr Stewart on saxophone and other members of the saxophone quartet. In the penultimate week before the end of term was the Summer Music Festival – three days of workshops and performances. The diverse range of workshops ensured that all musicians were able to attend at least one, and they were able to use the time to really focus on honing their skills. Again, the School had been able to bring in external help – most notably from musicians such as the previous finalist of the BBC’s young musician of the year; the cellist and conductor Robert Max; the remarkably original pianist Elena Riu; the Director of Music at Jesus College, Cambridge, Mark Williams, who
spoke about university choral scholarships; the Barbirolli Quartet, who spoke about Baroque String technique; the Majestic Brass member Gavin Broom; and the accomplished jazz bassist
The Summer Music Festival comprised a diverse range of workshops where musicians were able to use the time to really focus on honing their skills. Ryan Trebilcock. During this three-day period, pupils gave many small performances which they had worked towards in the workshops, but there were also two large performances – the Junior Ensembles concert and the Jazz Concert. The former had a diverse programme; notable was the fun of the Highgate Humdingers (a Barbershop Quartet); the precision and musicianship from the Kennedy Piano Trio, consisting of Thomas Stephens, Bertie Mills and Laurence Carden, who tackled the whole of Beethoven’s brilliant Piano Trio in C minor, Op.1, No.3: 1st mov., and the Sinfonia, who gave an accurate, yet entertaining performance of Grieg’s
Morning and In the Hall of the Mountain King alongside Berlioz’s Hungarian March. However, it was the Jazz concert that was really the pinnacle of the year. All aspects of Jazz were show-cased in this concert – the programme ranged from Jazz Standards to film tunes; however this diversity did not detract from the event, which was supremely entertaining. Set in Big School, the large acoustic lent itself to a rich, big sound throughout the evening, and also due to the large space, the audience were able to be seated ‘cabaret style’ around tables and to enjoy a glass of wine or two. Highlights amongst the smaller ensembles were the ever-brilliant A Cappella, who performed Jamie Powe’s arrangement of Lullaby; the Verve group’s performance of Horace Silver’s hard bop classic Song for my Father with great soloing; the Blue Note group’s atmospheric interpretation of the famous ballad My Funny Valentine with wistful vocals from Alice Cheng and the Swing Band’s saxophone-driven There You’ll Be. The end of the year was signalled by the Chorale and Chapel Choir, supplemented by a few OCs, singing Sir Hubert Parry’s I Was Glad at the end of year service – the piece sung during the bridal procession of Prince William and Kate Middleton’s wedding. The emphatic, textured and glorious rendition represented the successes
46 Feature
TheCholmeleian Winter 2011
Passionate about Pictures
TheCholmeleian Winter 2011
Feature 47
Noodle in a still from the video for the Gorillaz track, El Manana off the Demon Days album
I was very happy at Highgate, I got a real love of the arts and of French literature too, and quite a romantic sense of the world, that was all pretty much formed here I think...
Student Editors Sorcha Bradley and Pelumi Akinyemi meet Andrew Ruhemann (HG 1976), founder of Passion Pictures A still from the award-winning animation The Lost Thing. The Lost Thing is a combination between an industrial boiler, an octopus and a crab.
Andrew Ruhemann (HG 1976), the co-founder and managing director of Passion Pictures, is the man behind many of the most beloved animated characters who inhabit our TV screens today; from Aleksandr ‘Simples’ Orlav (from the Compare The Market commercials) to the ever-popular animations that give a face to the voices of the multi-million-record-selling Gorillaz. Most recently, and perhaps most exciting for Andrew, is his recent win at the Academy Awards, for his work on the short animation film, The Lost Thing, on which he worked alongside Shaun Tan, the author of the original children’s book. Before the end of the summer term, Andrew came back to Highgate to speak to students about his exciting work and creative processes, as well as to give us an up-close and personal view of his Oscar (which he bravely brought in a bag on the underground) but also to reflect on his days spent at Highgate; ‘I was very happy here, that’s the truth, I was very encouraged…I got a real love of the arts and of French literature too, and quite a romantic sense of the world, that was all pretty much formed here I think…is that glowing enough or should I say something horrible?’ He asks this with the touch of humour that he has brought to many of his
48 Feature
TheCholmeleian Winter 2011
Gorillaz characters Murdoc, Russel and 2D in the recent video On Melancholy Hill
Aleksandr Orlav has acquired a cult following with the success of the ‘Compare the Market’ commercials
The receptionist rang Andrew’s office to inform him that Steven Spielberg was in the reception. ‘I said, ‘Yeah, that’s really funny’, and put the phone down and carried on.’
works, and yet, he is also the producer of many critically-acclaimed and hard-hitting documentaries, including the Academy Award winning One Day in September, which examines the 5 September 1972 murder of 11 Israeli athletes at the 1972 Summer Olympics in Munich, Germany. By his own admission, Andrew’s career was kick-started by a lucky break. His first job was in Richard Williams’ production studio, in which he began as a trainee producer. It was less than a week into the job before the head producer left, and he himself was promoted to this position – he was suddenly in charge of fifty people, at Williams’ studios in Soho Square. ‘So I immediately went to all the fifty people and said, ‘Look, I don’t have a clue about this business, I don’t know anything about animation, I know a little bit about film, you’re going to have to help me, and they were great.’ But the surprises were not to end there – only two days later his receptionist rang up to his office to inform him that, in fact, Steven Spielberg was in the reception. ‘I said, ‘Yeah, that’s really funny’, and put the phone down and carried on, because I thought they were playing a joke on me. The phone goes again, ‘No, Andrew, Andrew, it really is, I’ve got Steven Spielberg in reception.’ Spielberg was there to ask him if he would work on the groundbreaking live-action/animation film, Who Framed Roger Rabbit? It was after this successful venture that Andrew decided, aged 27, to set up Passion Pictures. ‘Because what do you do when you’ve worked at the top level on something…[when] you’ve worked with the best in the business? I thought, ‘hell, I’m going to set up on my own.’ From there, his company has expanded, now with offices in New York, Paris and Melbourne, as well as
Feature 49
TheCholmeleian Winter 2011 Andrew ‘thinking of opening one in Berlin.’ Since then, his company has gone on to make and produce countless commericals for companies such as Sony Bravia, Vodaphone, Specsavers and Channel 4, as well as music videos for the likes of Gorillaz and Cornershop, and he has produced many documentaries including One Day in September and Stones in Exile, which followed the Rolling Stones during the recording of the controversial and seminal album, Exile on Mainstreet. For Andrew, he finds that the most important aspect of his work is that he can contribute to the telling of a story, whether it is through a commercial, or a documentary. ‘The most important thing about story telling is about what connects us as human beings, because I think what I find in the media and everything you read and see, is about what separates us, what religion we are and what colour we are and how much money we’ve got and if you can afford this… telling stories is where I can actually find some common ground, where none of that actually matters, where in fact what matters is what we share.’ It was this love of story telling that led him to direct The Lost Thing, his first animated film, alongside Shaun Tan, the author of the original children’s book by the same title. ‘I wear a lot of different hats. I decided to switch from my producer’s hat to my director’s. So I went looking for a story that I really wanted to tell and I found at the
‘When I first finished The Lost Thing, I took it to some of my most trusted people at the office, and not one of them had a nice thing to say about it, not one.’ Bologna Children’s Book Fair this book, called The Lost Thing. I was drawn by the title. If there’s anything lost in it, it’s got some kind of draw from for me, there’s instantly a potential drama in there’. The film was a labour of love, made entirely out of Andrew and Shaun’s own money, and they worked with a small team of four people over two years to create the film. Set in the near future, in a dystopian Perth, Australia, it follows a young boy, and his attempts to find a place for the ‘Lost Thing’ (a combination
between an industrial boiler, an octopus and a crab) he finds on a beach. Even with Andrew’s years of experience working on films, the creation of The Lost Thing was not all plain sailing: ‘When I first finished that film, I took it to some of my most trusted people at the office, and not one of them had a nice thing to say about it, not one. They were unmoved, underwhelmed. I came out and thought, I need to treat it as a learning experience and start again. And it was a very, very good lesson.’ The film of course, in its finished form, turned out to be a huge success, winning Andrew and Shaun an Academy Award for Best Animated Short. ‘I got given it by Justin Timberlake and Mila Cunis, not bad!’ Andrew proudly adds. Andrew is now working on the production of a film adaptation of Meg Rossoff’s novel How I Live Now, with Kevin MacDonald. ‘I hope what maybe distinguishes us from all the other people in this kind of work, is that we put a lot of soul in what we are trying to do’ he reflects. Anyone who’s seen The Lost Thing is sure to agree, and we wish him every success with his new venture.
Andrew with his second Oscar. The first was for a documentary, One Day in September. On the left is Pelumi Akinyemi, and on the right is Sorcha Bradley.
50 School Sport
TheCholmeleian Winter 2011
Athletics This year’s athletics season proved to be especially intense and hectic, in the face of disruption from the Royal Wedding and early exam dates. The first major change from the previous year was that Highgate’s U12 to U15 teams would now be competing in the Hertfordshire League, as opposed to the Barnet League at Barnet Copthall stadium. This was to allow Highgate’s younger athletes access to a higher standard of competition, and this was certainly proved to be the case as the season progressed!
Richard Footman ran a superb time of 56.2s in the 400m, and Jordan Joseph ran the race of his life in the B leg, only to have the exceptional 53s time discounted due to a starting issue
Luke Ames-Blackaby negotiates the water jump in the 2000m steeplechase
In what would be described by many as the climax of the season, at our own Cholmeley Shield meeting at Harrow, Highgate competed against extremely strong opponents such as Eton, St Paul’s, Harrow and Epsom. Highgate put in an exceptional performance across the board, especially considering how early on in the season the meeting took place. In the juniors, Colin Kpodonu ran a fantastic personal best 12.0s in the 100m and a commendable 25.3s in the 200m. Richard Footman ran a superb time of 56.2s in the 400m, and Jordan Joseph ran the race of his life in the B leg, only to have the exceptional 53s time discounted due to a starting issue! Charles Katz-Summercorn also took his Cross-Country form into the Athletics season with a personal best of 2.13s in the 800m. Podium places in both the 4x100 relay and 4x400 relay ensured a commendable overall position of 4th. In the inters, Conor Whitmore ran a fantastic 24.6s 200m, while Kane Rayner consistently contributed to track and field, competing well in 100m hurdles, javelin and long jump. It was the final season for the Ames-Blackaby brothers, and they put in some outstanding performances in the middle distance and steeplechase, often competing for the intermediates and seniors at the same time! Most notable was Luke AmesBlackaby’s steely performance in the 2000m steeplechase for the seniors, where he came 4th. The seniors put in a tremendous effort during the season, and that was evident with some great individual performances. Abayomi Epega ran a spectacular 11.8s and 24.4s in the 100m and 200m respectively, and has been an ever present top performer, much like Cameron Most who also put in great times of 12.1s and 24.7s in the same events. Harry Ashman was unfortunately unavailable for the Cholmeley Shield, and
School Sport 51
TheCholmeleian Winter 2011
Athletics
The long-serving Y13 leavers – Cameron Most, Matt Kovar, Abeyomi Epega and Hugh Larkin his ability in the 400m was certainly missed. The Patch twins ran extremely consistently, clocking terrific times such as 2.08s in the 800m and 4.38s in the 1500m (Joe) and 4.37s in the 1500m and 7.07s in the 2000m steeplechase (Archie). Matt Kovar was impressive on the javelin, as was Morrison on the jumps.
It was the final season for the Ames-Blackaby brothers, and they put in some outstanding performances in the middle distance and steeplechase, often competing for the intermediates and seniors at the same time! Many thanks must go to all the staff who work extremely hard to not only train and conduct games and training sessions, but to put on tremendous events such as the Cholmeley Shield for the benefit of us athletes. Athletics has always been a strong sport at Highgate, and with an exciting young crop of athletes beginning to emerge in the Hertfordshire league, it looks like the future will be no different.
Josh O’Neill (11 WG)
On your marks…set…GO! Kane Raynor sets off in the junior boys’ 100m
60 Feature
TheCholmeleian Winter 2011
Murray in the commentating box. His knowledge, energy and passion for the sport have endeared him to millions
Voiceof Motorsport
The
Murray Walker
William Kimberley meets Murray Walker (CH 1936) to look back on a career as the nation’s best-loved motor sports commentator The first thing that strikes you about Murray is just how remarkably agile and spry he is, bearing in mind his age. He carries himself as a man at least 20 years younger, belying the fact that he was born on 10 October, 1923. He is also still incredibly enthusiastic about the sport he has always loved and has an open and enquiring mind that means he still wants to learn
more about new gadgets and technologies. And that distinctive voice grabs you – causing you to sit up and take notice of what he is saying. Murray has the gift of the gab. He can watch and talk, involving the viewer with what is going on in front of him. However, his status as the voice of motor racing was only seriously taken up at an age when most people are thinking about
retirement or slowing down a bit. A single child, Murray credits his father, whom he obviously doted upon, for shaping his career and his life. ‘I cannot think of anyone I’d more aspire to be like than my father,’ he says. ‘He was kind, generous, as honest as the day is long, a brilliant communicator and an immensely hard worker.’
TheCholmeleian Winter 2011
Feature 61
Murray in the School Shooting Team, 1945. (With thanks to Ross Kessel and Ian Stephenson for their help in dating this picture)
Murray followed in his father’s footsteps by coming to Highgate School, an event that was commemorated by the Reverend KRG Hunt. ‘He hauled me in front of the class to beat me for some minor misdemeanour and said: ‘I’m going to give you three strokes, Walker, but before I administer justice have you got anything to say in mitigation?’
By the time he left School at the age of 18, Murray had become a Prefect, Company Sergeant Major of the School Corps and Captain of Shooting. ‘Yes sir,’ I replied. ‘I thought you would be interested to know that I will be the second generation of Walkers you’ve beaten because you beat my father. ‘Oh did I? Well, I’m now going to give you six for that!’ This taught me not to be cocky and to keep my mouth shut in difficult circumstances.’
meant tanks as inadequate eyesight prohibited Apart from this experience, Murray looks him from becoming a fighter pilot – ‘every back with affection at his time at the School. schoolboy’s dream’ as he puts it. Although he lacked hand and eye co-ordination, After going through the system which which meant he did not get too far in playing had the aim of sorting out the men from the either football or cricket, he mastered Fives, was boys, Murray was commissioned as a Second a First Class shot and learnt to play the bugle in Lieutenant at Sandhurst in April 1944. the School Corps. However, he has particularly ‘My parents and friends were there and the fond memories of his time at Westward Ho! salute was taken by that great American General ‘What a life it was! he says. ‘My school house Dwight Eisenhower, Commander in Chief of was at the end of a superb beach with the the Combined Allied Forces which, in just two Atlantic breakers crashing ashore just beneath months, would be landing on the coast of Europe my dormitory window. We were not really to commence its bloody liberation.’ affected by food rationing and it was shorts and Murray was very much part of that liberation shirts the whole year round.’ in the Royal Scots Greys, commanding a By the time he left School at the Sherman tank. Watching the disaster age of 18, Murray had become unfold at Arnhem when so many a Prefect, Company Sergeant paratroopers lost their life Major of the School Corps and “And now, excuse me while I while being unable to come Captain of Shooting. It was interrupt myself.” to their rescue obviously therefore inevitable that affected Murray, but so did he joined up with the war seeing a signwritten board still very much on. stating: ‘You are now ‘If you waited to be entering Germany’. called up, you had to go Full of anecdotes, where they sent you but perhaps the most if you volunteered and bizarre one he recounts were accepted, then you was when his regiment went where you wanted was leading the charge to ,’ For Murray that