Hardly a day goes by without someone saying they grew up with me on Play School, or their children did.

Anyone who watched me as a child probably thinks I got lucky with a few acting jobs after hosting Play School and Better Homes and Gardens. But right through my 24 Play School years and 10 years of Better Homes, I was on stage, screen and radio as well, honing as many aspects of my craft as I could, and telling stories for grown-ups as well as children. That said, I am more proud of Play School than anything else I've done.

Dear John Hamblin, who died in 2022, taught me so much about the Holy Grail for actors — being present and in the moment, which was tricky given the 30-odd-page Play School script. There was no autocue, so it had to be learned by heart and followed closely, as many of the words were camera cues.

When I first worked with John, I thought he was fun but a bit slack, often ad-libbing and generally mucking about. In response, I was a bit schoolmarmy, to make up for what I thought were his deficiencies.

But one day, I watched an episode featuring the two of us and I got it. I couldn't take my eyes off him. He was completely engaging, playing with the camera, which we treated as one child, and not performing like I was. He appeared to be making it up as he went along. Occasionally he was, but ultimately his performance was entirely natural and truthful, whereas mine was rehearsed.

From John, I learned that the only way to engage a preschool child and, by extension, anyone was to be, not to act. And believe me, if you can engage the attention of a three-year-old for half an hour, adults are a breeze.

As well as giving me a lifelong focus, another benefit of being a presenter on Play School, and the reason the job was so coveted, was that it served as a reliable part-time job.

Most actors have to find other work to see them through the quiet times, and it's almost impossible to find an employer who understands that you need to be available, usually at short notice, for auditions, matinées or a couple of days on a film.

Only 50 Play School episodes were made each year and they were shared between eight presenters, so it was no bonanza, but concert appearances and recording sessions helped.

It also kept me on screen and considerably expanded my audience reach to include several generations of children and their families, which would lead to further opportunities.

I started Play School in 1978, and, under the tutelage of executive producers Henrietta Clark and Alan Kendall, soon developed a deep understanding of how and why the program worked.

My attitudes to children, especially young children, changed totally. I realised the incumbent responsibility, that I already understood when performing for adults, was even more important for this audience. The world was speeding up and the little children were starting to be left behind.

As I said in my 1990 speech to the National Playgroup Association:

"Play School can teach us how to recognise, respect and encourage the very young child's right to be themselves in all their glory. I'm not suggesting a child be given no boundaries or discipline, far from it. Firmness can provide a sense of security. But for a short time each day at least, a child needs to know their own power, their own strength and will, and to make choices for themselves. Play School doesn't demand that the child be good, or quiet, or nice, or responsive, or clever. And never pretty or handsome.

In an unspoken way, it consistently acknowledges that the young child is worth talking to and listening to – and nice to be around. It gives the child integrity and takes pressure off them to 'shut up and behave' or 'be the best – impress me'.

For half an hour, twice a day, five days a week, Play School provides the child with this unconditional love and respect for their being."

This is an edited extract from Dropping the Mask by Noni Hazlehurst, published by Harper Collins, which is out now.