07. A Penny for a Song (1964)

Few of those who presented themselves for audition for the 1964 School Play knew anything of A Penny for a Song. Some of those who read it when the title was first announce had their doubts about the wisdom of the choice, and there were many misgivings about the technical difficulties of the production. How could Sir Timothy Bellboys be made to vanish down a well on a stage that lacked even such an elementary device as a trap-door? How was he to float on stage in the gondola of an air balloon? And could we really devise a property tree strong enough to support an actor throughout the entire performance! However, the sanguine nonchalance of our designer and stage manager, and the assurances of our producers calmed our fears for the time being. We learned with relief that none of us would be required to mince about the stage in flaxen wigs and long dresses since, for the first time in a St. Nicholas play, three young ladies from St. Helen's School, Northwood, had been invited to play the three female roles. Casting was soon completed and rehearsals began.

Gradually. as we practised over and over again each line and gesture and movement, the characters came to life and situations fitted together into a plat Sir Timothy's house and garden, tree and all, grew under Mr. Dye's direction and even the well was ready just in time for the stage hands to practise lowering Sir Timothy and his air balloon with unerring accuracy straight into it.  Explosions and birdsongs. muskets and cricket-bats, cannon-balls and picnic lunches were all produced to order by our property and special effects departments. With the arrival of the costumes the illusion was complete. When the curtain went up on the first night there was Sir Timothy's garden in Dorset on a summer morning in 1804, the sea in the distance, and Humpage, the look out man (played with a rich Dorset accent by Raymond Brown), snoring peacefully in the fork of a sturdy-looking tree in the centre of the stage. And no company of amateur actors and actresses could have asked for a more responsive and appreciative first night audience than we had.

It was an unforgettable experience for all of us associated with the production. We shall long remember Francis Cattermole as the eccentric and ebullient Sir Timothy swaying gently from above in his gondola". Derek Paget's performance as the gentle, rather hen-pecked Lampret Bellboys, with his passion for fire-lighting, was admirable. Diana Waller played his daughter. Dorcas Bellboys, with great charm and showed herself a true actress. She poignantly portrayed the girl's transition from innocent gaiety to the sadness of a lost first love and her awakening to the world as a place less perfect than the dreams of a child would have it. Maureen Phillips also gave a delightful performance as the slightly vague, utterly unflappable, and rather "managing" Hester Bellboys. The modest part of Pippin, the maid, was played with a quiet self-effacement by Jennifer Sewell. We were delighted to have these three young ladies in the company. Their fine acting made a great contribution to the general standard of the production, and we hope to have the pleasure of acting together with St. Helen's again.

Andrew Clarke gave a polished performance as the sadly-whimsical Hallam Matthews, and Francis Curtis a spirited one as Selincourt, captain of the local fencibles. John M. Clarke was a well-balanced mixture of the angry young man and social reformer in his interpretation of Edward Sterne. the discharged soldier back from the war. He brings with him a little refugee French boy delightfully played by Brian Cook, without a word of dialogue to say. John B. Clarke as Samuel Breeze, was the perfect gentleman's valet for Hallam Matthews. Simon Margutti the most discreet and conscientious clergyman, Mr. Joseph Brotherhood. Martin Cook and Christopher Maltouse as Rufus Piggatt and James Giddy, two rustic fencibles, added a touch of slapstick comedy to the play.

All of us who had a hand in the production, great or small, and in whatever capacity, must have found much satisfaction in working together to create a theatrical experience which in the pleasure it gave us and (we trust) its three audiences, was its own reward.