My enquiries prompted Pete Ewens to dig out a photo of the cast of the '62 school play, and Alan Saunders writes about another play, the first, he thinks, with REAL girls. Today's sixth formers will have little idea what a breakthrough that was! Here is Peter's address mebeast@wanadoo.fr and here is his letter:
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[I have reduced the size of Peter's excellent picture in the interest of quick loading. Click the image for a larger version. The cast list follows the review below - BP]
"As promised.. School play...at Bishop Fox's circa 1962(?)... Will's
TN or what you will.
Names from the past include several mentioned in the "where are they now?"
Apart from Alan [Saunders] and I, the photo includes Paul Webber, Colin Foster, Richard
Hardy, Rodney Hake, Roger Vickery, Alan Vian, Chris? and Alan Crawford.... and Tom Pritchard(?)...etc. Can detective Bob get us a full list of names... I'm to the "Stage left" ie
right of Sir Andrew Agucheek! Sorry for the 'speeling' but I feel too lazy to
flick through "The Complete Works....."
All that's best..... Pete"
Alan Saunders, address Your critic will not deny that he faced with some trepidation the task of viewing and reporting on this year’s Drama Club production. Contrary to what seems to be a popular assumption, Shakespeare is not an easy acting option, and “Twelfth Night”, undoubtedly a sophisticated play written for a sophisticated audience, can be deceptively difficult.
He need not have worried. Indeed he was well satisfied with a delightful performance that reflected great credit on all who were associated with it . “Twelfth Night” is a happy play; and by their own gusto in performing it, the members of the cast were completely successful in communicating this happiness to the audience.
As last year, Chilcott, in the part of Viola/Cesario, was a great success. He shows a remarkable maturity in his timing and stage presence, to which must be added good voice control. “Twelfth Night” contains some of Shakespeare’s most beautiful poetry. Chilcott did not forget that, and he saw to it that the audience also realised it. The same may be said of Coombes, as the love-sick Duke Orsino, and (to a lesser extent) of Foster as Olivia. His voice at times needed more inflection and occasionally he was a little stiff in movement; but he is to be congratulated on a very promising performance.
The sub-plot is concerned with the duping of Malvolio, Olivia’s pompous and self-righteous steward. He was well portrayed by Poulter, though your critic would have liked to see him a little more formal and dignified. After all, Malvolio is described as a Puritan, and he might have been made a little more puritanical, to emphasise the contrast to the boisterousness of Sir Toby Belch. In this part, so suitable to him, Smith thoroughly enjoyed himself and delighted the audience; and your critic was pleased that he did not make Sir Toby a disreputable, drunken old sot. There is more to Sir Toby than that.
Among the other plotters, Peach, as Sir Andrew Aguecheek, was a triumph of casting. He played the genial “silly ass” to the manner born. One minor irritation to your critic (for which Peach was in no way responsible) was his poor wig of flaxen hair. Ewens made a delightful scheming Maria. With more experience he will learn to slow his tempo and (a common fault, this!) control his hands more effectively. As Feste, the clown, Minty started nervously, especially in his singing, but improved very considerably, particularly in his scene with the incarcerated Malvolio. Your critic enjoyed some excellent fooling in the letter scene, and a nice touch in the use of a pint pot as a candle-snuffer.
Once again it is impossible to mention all the members of the cast. That does not mean that they are not worthy of mention. Indeed, all are to be congratulated, not least Hutter, for his recorder-playing.
As usual, all the “back-room boys” played their parts with efficiency. Indeed, your critic cannot imagine them doing otherwise. Perhaps a special word should be said of Mr. Stock and his handymen for some handsome rustic appurtenances and a very effective fore-stage, which also served as Malvolio’s prison.
For the sixteenth time we express our gratitude to Miss Craig for the use of her school. This will presumably be the last time. Our debt to her has grown with the years, and our acknowledgments are all the more sincere.
SPECTATOR.
Dear Bob,
Better late than never!
As I promised a few months ago, I'm sending you some reproductions
of photos taken during the 1960's which you may wish to 'publish' in the
Huish website. The drama critics' write-ups appeared in the local
newspaper (it was called the 'Somerset County Gazette', wasn't it?)).
Let me know if you want any details about who's who in the photos. I
may be able to recall a few names. I think the Playboy of the Western
World was produced in the autumn of 1967 though I'm not sure. I think
the W.T was in 1968.
I did have a copy of one of those 'panoramic' school photos taken in
the 1960's but unfortunately I lost it in Turin many years ago. I've
changed residence so many times over the years. If you're interested in
getting hold of one of the 1960's photos, I may know of someone in
Taunton who has one.
Best wishes, and congratulations! You've done a good job with that site, and I'm sure many other old Huishers have appreciated your work.
Stefano Pastorello (Vicenza, north-east Italy)
[I have reduced the size of Peter's excellent picture in the interest of quick loading. Click the image for a larger version. The cast list follows the review below - BP]
