01. Henry IV part 1 (1958)

THE School this year ventured upon its first full length dramatic production, and considering the difficulties the producers had to face in not having a sixth-form from which to draw their main characters, the standard set was very high.
The play, Shakespeare's "Henry IV Part I". was presented to responsive audiences on the nights of 21st and 22nd March.

Producing a Shakespearian play is never easy, but, as in past shorter productions, the staff and ladies worked unsparingly to provide a first-class setting: nobody could help but admire the well-designed scenery of Mr. Plenderleith and Mr. Armstrong, the costumes tailored by Mr. Phillips and the ladies Mr. Easom's effective use of the lighting equipment, and the skilful make-up (particularly Bourne, Canever and Gibbs) by Messrs. Plenderleith, Richardson and Winter.

Because of the lack of senior pupils, it was difficult to find boys capable of sustaining long complicated parts. This had an adverse effect, particularly in the first scene, when the audience had not accustomed itself in the gabbling of lines by some of the major characters. However, the plot was easily discernible, and the cast secured that willing suspension of disbelief, so essential to success.

Some of the more important characters deserve special mention. Johnston as Hotspur thoroughly enjoyed his acting. dominated the stage. and made a noble attempt to conquer his long, difficult speeches; C. Snook as Glendower looked a fearsome Welsh warrior: and Wilkinson, taking the place of Paton at short notice, well portrayed an uncompromising Scot.

Shakespeare would undoubtedly have rejoiced ai the "tavern scenes" which were played with all the drunkenness and ribaldry that a Shakespearian crowd must have expected to see. The audience no longer has the right to accuse Shakespeare of dullness, after watching Woodham as Falstaff - a "natural" performance worthy of the highest praise or after listening to Alder's "tavern" laugh, or after witnessing the excruciatingly funny performances of Bourne, Canever and Gibbs.

Three other characters deserve mention in this "honours list": Reade for his Mistress Quickly, Tickner for his Vintner and Goodwin for his Prince Hal, whom he portrayed with an easy authority which dominated the stage.

The production displayed signs of care in every department: the fencing sequences were meticulously planned by Mr. Komatsu; the string music. Purcell catches and the Agincourt song were appropriate to the period; the fanfares were expertly played by Mr. James and Mr. Charlton; and the battle effects were realistically recorded by Mr. Appleby.

In all, the producers, Mr. Clarke and Mr. Appleby, gave the audiences a play which was a pleasure to see and to hear, a fitting reward for their hard work.

L.W.B.