The narrator tells his story with respect for the simple but beautiful artefacts he is using. There is not an old yoghurt pot or the inside of a lavatory paper roll in sight. The materials are handled as if they are sacramental. These are ‘the things of God for the children of God’.
At no point in the story does the storyteller look at the children. This is important. The focus is not on the teller but on the tale in which all in the charmed circle are imaginatively engaged. The storyteller’s voice is slow and soothing, almost mesmeric. His every move is studied.
(from PLAYING IN THE CITY OF GOD, an article by Dr John Pridmore,
Rector of Hackney, in AYCE Journal, October 2001)
