There was colour. There was grace of movement in the dancing; some strong acting and instrumental playing; clarity of reading and singing; joy in the animals and trees of the wood. There was theological wisdom complemented by thoroughly funny bits, most especially in the Lindisfarne boatmanship, but also in dry and beautifully timed humour in the spirit of Saint Cuthbert.

Dawnlight gave us a delightful evening’s entertainment; musical and visual pleasure; an occasion for thought and also for laughter. It was a wholehearted effort, presented with that lightness of touch which can be recognised as joy. It was evangelism at its best - attractive, confident and satisfying. Thanks to each one who contributed to this happy success.

Source: Mary Haynes (a visitor to the parish), The Spire Magazine - 1992 April

Eighth week of rehearsals - another look at my script that I was supposed to have leant by last week - how on earth do actors in repertory learn ten times as much as this, word perfect each week? - while we still mumble into the ground, fluff our lines or dry up completely. When we started rehearsals (was it really October?) for a performance in March, we had almost no idea of the amount of commitment, dedication, enthusiasm, persuasion and sheer persistence that Stuart Ward required and showed in bringing out the hidden talents (sometimes deeply buried!) of his cast. It was not until a week or so before the performance that most of the actors and narrators began to appreciate the many other things with which Stuart had been concened, and realised how many other people were involved in this enterprise. The music Stuart wrote and the musicians who performed it which provided a key element in the dance sequences and in other scenes. The creation of over forty costumes, plus armour, head-dresses and other accessories largely produced by Margaret Revis - I myself had ten different items of clothing and equipment; the Jays and those who had worked with them and provided their costumes and make-up; those who had produced the stage props including painted trees, the holy banner, the beautiful Lindisfarne Gospels and the blessed relic of St. Cuthbert, and those helping with scene shifting, lights and sound. Through it all Stuart brought shape and cohesion to the performance despite our worst endeavours to maintain primeval chaos and, true professional to the last - in the best sense of the word, provided himself with the only monastic haircut. I hope that the audience enjoyed this richly rewarding, whole-parish production, as much as we did.

Source: Pip Rowett, The Spire Magazine - 1992 April