History Boys Study Guide

A SUPPLEMENTARY STUDY GUIDE

By Alan Bennett Directed by Terrence J. Nolen

TABLE OF CONTENTS Section One: About The Play...............................................Page 2 Characters and Setting...........................................................Page 2 Play Synopsis...........................................................................Page 3 About the Playwright.............................................................Page 7 Production History.................................................................Page 7 Section Two: History and Context......................................Page 8 Glossary....................................................................................Page 8 Translation of the French Conversation in Act I..............Page 9 Timeline of Britain in the 1980’s.........................................Page 11 The Bristish Education System...........................................Page 11 The Universities.....................................................................Page 12 More About the Poets...........................................................Page 13 Section Three: Our Production...........................................Page 14 Design & Production............................................................Page 14 Who’s Who in the Cast.........................................................Page 15

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SECTION ONE: ABOUT THE PLAY

By Alan Bennett

Directed by Terrence J. Nolen on the F. Otto Haas Stage September 24-November 1, 2009

CHARACTERS THE BOYS Posner Dakin Scripps Rudge Lockwood Akthar Timms Crowther

THE TEACHERS Irwin Hector Headmaster Mrs. Lintott

SETTING

The History Boys takes place in and around a sixth-form classroom in a boys’ school during the 1980s in the north of England.

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PLAY SYNOPSIS Warning: Spoilers!

ACT I

The History Boys opens on a 40-year-old Irwin, confined to a wheelchair, advising a few Members of Parliament on how to promote a proposed bill that would change criminal law procedure. He suggests that the bill might be perceived negatively because of its implications for criminal rights, cynically proposing that the best way to gain support for the bill would be to play paradoxically with the idea of freedom – “‘The loss of liberty is the price we pay for freedom’ type thing” – and then mysteriously states that this strategy is just like school.

The scene jumps to an empty stage, where a man in ‘motor-cycle leathers’ appears followed by eight boys in their late teens.

Each boy removes a piece of the man’s gear, announcing the article of clothing in French, until Hector, a middle-aged school teacher wearing a bow tie, is at last revealed. As he thanks his students in French, the scene dissolves into a classroom belonging to a boy’s school in north England in the mid-1980s on the first day of the school year. The boys are sixthform history students, which in the British school system equates to their final year of secondary school. Hector briefly congratulates his students for the exemplary scores they received on their A-Levels, academic exams that serve as both qualifications in themselves and prerequisites for pursuing higher education, before introducing the subject of his class.

Hector teaches a class which he claims has euphemistically been titled General Studies, rather than ‘A Waste of Time,’ which he admits it might be, except that, quoting A.E. Houseman, “ ‘All knowledge is precious whether or not it serves the slightest human use.’” One of his students makes a comment about the quoted author’s sexuality, and Hector hits the boy on the head with a book. The boys reply indignantly that their A-Levels have made them Oxford and Cambridge candidates, and thus they should be treated with respect. Hector replies dramatically to their statement, expressing his desire that they attend one of the ‘less lustrous institutions.’ The bell rings, and after Hector leaves, the boys remain a moment to talk amongst themselves. One of the students, Timms, explains that Hector’s hitting is an affectionate gesture. Rudge and Lockwood complain that they never get hit, while Dakin happily says that he’s “black and blue.”

The scene shifts to a conversation between the Headmaster of the school and Dorothy Lintott, one of the school’s teachers. They discuss how the boys’ education should be conducted now that they are Oxford and Cambridge candidates.

The Headmaster is exuberant about the boys’ future, unable to remember the last time that a student in history got into England’s top universities, and quite determined that every effort should be made towards preparing his students for the entrance exams. Mrs. Lintott is much more reserved about grooming the boys’ for the prestigious schools, a sentiment which she expresses in a conversation with Hector after the Headmaster leaves. She says of Durham, her alma mater, that while it was good for academics, what she remembers principally from her time there was her first taste of pizza and the fog outside the cathedral.

Some days later Scripps sees a young man standing outside of the school, an arrival he describes as clandestine. The Headmaster approaches the young man, who introduces himself as Irwin, the new teacher meant to prepare the boys for the December entrance exams for Oxford and Cambridge. The Headmaster comments that since Irwin went to Cambridge, he would know the process, and Irwin corrects the older man, claiming that he went to Oxford. The Headmaster reveals that he went to Hull to study geography and reacts with some resentment when Irwin associates the school with a famous poet who taught there. The Headmaster tells the new teacher that he wants the history boys to get into Oxford and Cambridge so that his school can rank among the top private schools, and offers Irwin a teaching position if he can prepare the boys properly for the exams. Irwin states that he will need more time than the curriculum allows, and the Headmaster suggests that they might be able to take some time from Hector’s class. As they leave to speak to Hector, the Headmaster tells Irwin that his apparent youth may give him problems with commanding respect in the classroom, and thus, he should grow a moustache.

In Hector’s class, Scripps is playing a song by Edith Piaf on the piano while Posner sings along. The class is apparently having a lesson in French focused on working with the subjunctive and conditional tenses. Hector asks for a pretend setting for the lesson, and after an ill-received suggestion by Rudge to hold it in a garage, the class settles on Dakin’s suggestion to hold it in a brothel. Dakin pretends to be the client, while Posner pretends to be Simone, a maid. Posner makes Dakin take off his shoes and his pants before signaling Timms to play the prostitute Claudine, who asks what Dakin would like in the way of foreplay. The Headmaster and Irwin enter at this point in the conversation, and Hector informs them that they must converse in French. The Headmaster, surveying the scene, asks why Dakin is pantless, and Hector tells the boys to explain. Dakin starts timidly to explain, but Hector interrupts him and says that the scene is a hospital during World War One and that Dakin is a wounded soldier. The boys pick up the improvisation for a few minutes before Irwin suggests that

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the solider might be commotionné, the French word for shell-shocked with which Hector is unfamiliar. The Headmaster puts an end to the lesson by introducing Irwin and asking Hector to give up some of his class time so that the boys can have more time with Irwin. Hector firmly refuses and continues the French lesson. At the end of class, Hector asks which student he is giving a ride home. Crowther, Dakin, and Akthar say that they are busy. Posner offers but Hector refuses, and finally Scripps reluctantly offers to go. When Posner complains that he never gets asked to go, Dakin tells Posner that he should be thankful.

The scene moves to Irwin’s class, where he is handing back exercise books to the boys, and commenting on their increasing dullness. Dakin protests that his answers were correct, and Irwin responds that it was not their competence with which he takes issue, but their interest factor. It is clear throughout the scene that the boys are deliberating being difficult with Irwin, comparing nearly everything he says with what they have been taught by their other teachers. Irwin talks about Christ’s 14 preserved foreskins at the time of the Reformation as an example of an interesting tidbit that they can use in their entrance examinations to distinguish themselves from other candidates. He reminds them that they are competing with boys and girls vastly more well traveled and groomed for this sort of testing, and says that based on the current quality of their exams, they have little hope. The boys stay after class and express dissatisfaction with their new teacher before turning the discussion towards Scripps’ interaction with Hector on the bike. Scripps says that it was basically the usual, except that Hector might have “thought he’d got [Scripps] going.” Posner, in an aside to the audience, says that he was always left out of this kind of discussion because he was “late growing up.” Scripps also speaks briefly to the audience, saying that Posner envied Dakin for his good looks and charm, and that this has caused him a great deal of misery because he has not yet realized that his envy is actually love. The conversation resumes as Dakin says that he sometimes wishes Hector would “just go for it,” but in “controlled conditions” rather than the bike. On the subject of sex, Rudge reveals that he is sexually active, and Dakin reveals that he is seeing Fiona, the Headmaster’s secretary.

In the staff room, Mrs. Lintott and Hector discuss their teaching team, in which Mrs. Lintott gives students an education, and Hector gives “them the wherewithal to resist it.” Mrs. Lintott worries that they might just be indoctrinating their students, rather then letting them discover things, and that this may be harmful to their education.

In Irwin’s class, he is advising his students to approach history less as the poets do, and more as historians. For the entrance exams, he tells the boys that they must historical events need to be addressed as abstract questions. They need to refer to the First World War as a “mistake” rather than a “tragedy,” and that poetry, while useful as “garnish” is after all a subjective account of an experience, and historical considerations need to be objective and abstract. The boys protest to Irwin’s relegation of art to mere decoration, and as a class, recite a poem by Larkin about the loss of innocence in war. After the bell rings, Dakin, using a metaphor of war, recounts his sexual relationship with Fiona. He also tells the others that their Headmaster hits on Fiona.

The scene switches to Hector’s class, where the boys are studying poetry. Timms complains that he often does not understand poetry, and Hector replies that he must learn it anyway so that he will “have to antidote ready” when he does understand it. The class ignores a knock at the door from Irwin before continuing a recurring game wherein the boys wager that they can recite a piece of literature that their teacher cannot identify. They lose, begrudgingly paying their wager, and Hector tells them that there is now 16 pounds available for whoever can beat him at this game.

Back in Irwin’s class, the boys are questioning their teacher on his personal life. He is vague in answering their questions, and quickly changes the subject to their latest essays. He tells his students that they need to find an unconventional take on questions of history, and look for ways to challenge standing historical assumptions. Irwin questions the boys about what they do in Hector’s class, and they seem unsure of what exactly they learn or why they learn it, but suggest that the point is “the pursuit of [knowledge] for its own sake.” Upon realizing that the boys have a large wealth of “useless knowledge” that would serve them well on their entrance examinations, Irwin questions the boys on why they refuse to bring the material they are learning in Hector’s class to their academic writing. The boys insist that the material from Hector’s class is not meant for the exam, claiming that it “would be a betrayal of trust” paramount to “laying bare [their souls].”

In the staff room Mrs. Lintott asks Irwin if he’s been given an affectionate nickname by his students. He replies that he hasn’t as far as he knows, but that the previous day, one of his students came to him with a problem. Posner enters into scene, replaying the conversation as Irwin recounts it to Mrs. Lintott. He tells Irwin that he thinks he might be homosexual and that he is in love with Dakin. He also admits that to some extent, he wants to get into Cambridge just so that Dakin will love him back. Irwin tells Mrs. Lintott that he tried to behave sympathetically to Posner, without revealing that he is also a homosexual. Lintott leaves, but the scene from the previous day continues, with Irwin questioning Posner about why he did not turn to Hector with his problem. Posner says that it was because he wanted advice, not quotations, but in an aside to the audience, Scripps reveals that Posner sought out Irwin’s advice because he had noticed Irwin’s interest in Dakin and “just wanted company.”

The next scene shows the boys asking Scripps about his relationship with religion. He describes it as a temporary love affair with God. Dakin speaks boldly in contrast to the reference that Hector has instilled in his students towards literature. He says that the more he reads literature, the more he sees that it is “actually about losers.” When Scripps says that it sounds like he is just taking one of Irwin’s angles, Dakin responds that while he has Irwin to thank for showing him that he could question literature, he got the idea from a philosopher named “Kneeshaw.” Scripps corrects Dakin that the name is “Nietzsche” causing Dakin embarrassment because he had pronounced the name incorrectly in front of Irwin.

Meanwhile, Irwin is trying to get Hector to tell the boys to use the material he has taught them on the examinations. Hector rigidly refuses, taking great offense to Irwin’s use of the term “gobbets” to refer to the poetry, quotes, and other articles of culture that Hector has taught his students. Later, Irwin speaks to the Headmaster about the history boys’ progress. He expresses his concern that they aren’t bringing the material from Hector’s class to their preparation for the entrance exams, but the Headmaster doesn’t seem terribly concerned, assuming that Hector’s lessons have little to do with the boys’ success or failure in getting into Oxford and Cambridge.

Sometime later the Headmaster angrily calls Hector to his office, and asks the teacher why he teaches behind locked doors.

He tells Hector that while volunteering at a charity shop on Wednesday, happened to look out the window just in time to see Hector inappropriately touching a teenage boy on his motorcycle. The Headmaster suggests that Hector’s actions might be kept quiet, but that he should look towards retiring at the end of the term. Hector quietly responds with his usual quotations as the Headmaster continues to admonish him. The Headmaster, finally finding the leverage he needs, tells Hector that he ought to share his lessons with Irwin.

After his meeting with the Headmaster, Hector is sitting alone in his classroom in his motorcycle gear. He was supposed to have a lesson with Posner and Dakin but Posner enters alone, reporting that Dakin is with Irwin. Continuing without Dakin, Posner recites the piece of poetry that he has memorized. The poem is by Hardy and it recounts the burial of a young drummer boy named Hodge. They analyze the poem together, and Hector wistfully makes a statement about literature’s power to make one feel “as if a hand has come out and taken [theirs].” Dakin enters with a motorcycle helmet and apologizes for his absence. Hector asks why he has the helmet and Dakin reminds him that it is his turn on the bike.

Hector refuses the boy a ride, stating “today I go a different way.”

ACT II

Act Two opens again on a future wheel chairbound Irwin, talking to a camera about the pilgrimage site at Rievaulx Abbey, where many flock to see the “ancient arsewipes” used by monks before toilet paper existed. He stumbles during his presentation, and the director suggests that they take a five minute break. A man has been watching, who Irwin now turns to.

The man was obviously a student of Irwin’s at one point, and Irwin asks how Oxford was. The man corrects Irwin, saying he went to Cambridge and that “it didn’t work out.” He is writing a piece about what happened in his high school days, and he refers to it as a potentially therapeutic experience. He pushes Irwin to talk about his past relationship with Dakin, leading Irwin to suspect that his once student is wearing a recording device. The man, identified as Posner, suggests that Irwin might want the chance to tell his side of the story so that he does not seem like Hector. Irwin rejects Posner’s suggestion, curtly stating that he was not like Hector before resuming filming.

Back in the 1980s, Hector sits before his classroom, visibly distracted and upset. He tries to tell his students something, but they insist that they already know about his sharing lessons with Irwin. They joke and tease Hector, thinking nothing of his mood, until Hector explodes at them, yelling “SHUT UP, you mindless fools. What made me piss my life away in this god-forsaken place?” The boys stand around awkwardly, shocked and confused at their distressed teacher. Eventually Hector recovers, they resume their literature guessing game, and by the time the bell rings the mood in the classroom seems to have returned to normal.

The Headmaster is speaking to Mrs. Lintott about Hector’s retirement. He reveals that he is thankful that Hector interacted inappropriately with his students because it has given the Headmaster an excuse to get rid of him. Mrs. Lintott, previously unaware of Hector’s motorcycle indiscretions, is conflicted in her reaction. She leaves just as Irwin, Hector and the boys enter the classroom. The first joint class is confusing for all. Irwin is not sure how to begin the class, Hector is uncooperative, and the boys are unsure how to act. Irwin suggests a topic – the Holocaust – which turns into a conversation about how the Holocaust should be discussed. Hector resists this line of thought on the basis that it is not simply a topic or an abstract question and to treat it as such it to “demean the suffering involved.” Dakin offers one of Hector’s quotes as a fitting compliment to the conversation, which pleases Irwin but distresses Hector even further. To Hector, those words were written to express the terrible suffering of a man’s soul and Dakin calls them up only so that he may be patted on the head and told that he did a good job. Dakin understands Hector’s point but rejects it, taking Irwin’s suggestion that the Holocaust ought to be viewed objectively and that for the purposes of the Oxbridge examinations, it should be approached with an original point of view. Hector is appalled by this approach. Posner too responds negatively, stating that “to put something in context is a step towards saying it can be understood and that it can be explained. And if it can be explained

that it can be explained away.” Irwin compliments the boy on this point, but Posner rejects the compliment because he said it from his heart, not out of a desire for academic approval. By the time the bell rings, Irwin is encouraged by the boys’ progress and Hector is disgusted. After class, Dakin tells Scripps that the Headmaster somehow found out about Hector and now he’s being forced to leave the school. In a distant fashion, they wonder if they have been damaged by Hector’s fondling, and Scripps says “we must hope so. Perhaps it will turn me into Proust.”

In the next scene, the Headmaster has received an angry letter from Posner’s parents about the way that the Holocaust was approached in class. Irwin tries to explain that the idea is to find ways of talking about historical events that go “beyond mere lamentation,” but the Headmaster insists that Irwin write an apologetic letter. Later, Posner explains to Irwin that he was simply telling his parents that “the Holocaust was a historical fact like other historical facts,” which understandably angered his Jewish family. Irwin apologizes, admitting that the Holocaust might still be too recent to be treated as an abstract question. After Irwin leaves, the boys go over their latest papers. Dakin is fervent about seeking Irwin’s approval. He even considers whether or not he would interact engage sexually with Irwin, taking for granted his teacher’s interest. Posner tells his classmates that Irwin is probably interested in Dakin because he catches Irwin looking at him often.

The boys practice answering questions in front of Hector, Irwin, and Mrs. Lintott. Irwin and Mrs. Lintott continually revise the boys’ answers, even on questions of personal taste and interest; while Hector suggests that the boys’ simply answer truthfully. Afterwards, Dakin is left alone with Irwin. In the scene that follows Dakin seems more in control than Irwin does, approaching his teacher in a suggestive fashion, and finally earning Irwin’s approval on his final essay before the examination. The next scene shows the boys and the teachers arranging themselves for a group photo. The Headmaster tells Hector to take the picture, leaving the senior teacher out of the photo. Afterwards, Irwin and Mrs. Lintott are waiting for the Headmaster, who has called them for a meeting. Hector comes out of the Headmaster’s office as Mrs. Lintott enters.

Hector reflects on his life as a teacher and advises Irwin not to go into teaching. He says, “I used to think I could warm myself on the vitality of the boys I taught, but that doesn’t work.” Still, he expresses his wish that he could have served out his time. When Mrs. Lintott returns, she tells Irwin that she is retiring after the following year and the Headmaster would like him to take her place.

The boys have their examinations. Scripps went to church in the college chapel after his examination; Dakin visited Corpus, the college Irwin said he attended; and Posner did get a question on the Holocaust. He played it down and received praise for his “sense of detachment” during the interview. In the next scene, the boys and the teachers are in an excited state of celebration. The Headmaster announces that every single boy received acceptance letters from Oxford or Cambridge save Rudge. He expresses some regret over this news, but also states that Rudge’s rejection was expected. He asks Rudge whether he had heard from Oxford yet, and Rudge tells the teachers that they told him that he got in when he was there.

Apparently his father was once a college servant at Christ Church, and Oxford liked the idea of accepting the son of a former servant to show “how far they had come.”

Later, Dakin tells Irwin that while he was at Corpus, he looked at a catalog of former undergraduates, and could not find Irwin’s name. Irwin admits that he did not get into Oxford as an undergraduate, and that he actually went to Bristol. Dakin shrugs off this news, and asks Irwin to get a drink. Irwin says that he is busy, and Dakin replies that asking Irwin to get a drink is really a euphemism. Irwin says that he didn’t know his young student was so inclined, and Dakin tells Irwin that he isn’t normally. When Irwin doesn’t respond, Dakin expresses confusion over how Irwin can be so reckless with his teaching but so careful in real life. Dakin assures Irwin that this would be nothing like Hector, and eventually, Irwin agrees to have “a drink” with Irwin on Sunday afternoon.

Dakin tells the rest of the history boys that he wanted to say thank you to Irwin and this is his way of doing it. He also tells them that he got the Headmaster to let Hector keep his job by threatening to tell someone about the Headmaster’s advances on his secretary, Fiona. He then gives Posner a hug to great cheering and joking, and dons Hector’s motorcycle helmet, saying that he might as well take this last ride “for old times’ sake.” As Hector approaches, Rudge asks whether he might have the chance to test Hector one last time and win the money in the pot. Hector agrees, and Rudge sings a piece of pop music that Hector cannot name. The Headmaster appears, and noticing Dakin with the helmet, insists that Irwin ride with Hector instead.

We learn that this motorcycle ride would be Hector’s last. Nobody is certain of what caused the crash, but it killed the driver and put Irwin in a wheelchair. The boys and the teachers reflect on Hector and the effect that he had on all his students.

Mrs. Lintott tells the audience what each of the boys became in the future. Two became magistrates, one a headmaster, Dakin becomes a tax lawyer, Rudge becomes a builder, Scipps becomes a journalist. Posner, the “only one who truly took everything to heart” that Hector taught, lives alone in a cottage and connects with other people mostly through the internet. The play ends with Hector’s lingering words: “Pass the parcel. That’s sometimes all you can do. Take it, feel it and pass it on....That’s the game I wanted you to learn. Pass it on.”

ABOUT THE PLAYWRIGHT ALAN BENNETT

Alan Bennett was born in 1934 in Leeds, West Yorkshire.

For his secondary education, he attended Leeds Modern School, a grammar school for boys similar to the one portrayed in The History Boys. While serving his National Service (compulsory or voluntary government service, usually in the military), he studied Russian at the Joint Services School for Linguists. He was offered at place at Cambridge, but he had already spent some time at Cambridge during his National Service, and decided instead to apply for a scholarship at Oxford. He attended Exeter College and earned a first-class degree in history.

Despite his academic achievements, he found that the scholarly life did not fit him. At the 1960 Edinburgh Festival, he co-wrote and performed Beyond the Fringe with fellow artists Peter Cook, Jonathan Miller, and Dudley Moore, a show which achieved great success and critical acclaim. For the next few years he enjoyed a successful acting career, particularly in comedy. Bennet’s first play, Forty Years On, was produced in 1968 and achieved immediate success. He went on to write well-received work in television, film, and theater. His plays include Habeas Corpus, Kafka’s Dick, The Madness of George III, A Question of Attribution, The History Boys, and Single Spies, among others.

PRODUCTION HISTORY The History Boys was instantly a hit among critics and audiences alike when it premiered in London in 2004.

It won three Lawrence Olivier Awards in 2005, and when it appeared on Broadway the following year, it received six Tony Awards. A film version of The History Boys was released in 2006, directed by Nicholas Hytner and featuring the original members of the stage cast.

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SECTION TWO: HISTORY AND CONTEXT Accessions Desk: A library’s circulation desk

GLOSSARY

A-Levels: In order to gain admission to higher education, British students must take the Advanced Level of the General Certificate of Education (GCE) examinations. They can be taken in various subjects, and most universities require three A-Level qualifications for their application.

Battery Chicken: A battery chicken is a chicken that is caged for the purposes of producing eggs.

Benighted: existing in a state of moral or intellectual darkness Bollocks: It is often used in British slang to mean “nonsense” or “rubbish” or “darn.” It is also used to refer to testicles.

Cenotaph: A tomb or monument for a person or a number of people whose remains are elsewhere.

Cheat’s Visa: Hector’s clever misrepresentation of the term “CV”. A CV, which actually stands for curriculum vitae, resembles a resume in many ways, but is usually more focused on academic achievements.

Cloisters: A cloister can be a covered walk running along four walls that form a quadrangle, but it can also refer to a quiet, secluded place.

Decrepitude: The quality or state of being decrepit.

Don: A title used as a mark of esteem for a person of personal, social, or official distinction. In this case it is used to refer to a sort of academic advisor at Oxford or Cambridge.

Elastoplast: Term used to refer to a medical dressing or bandage.

Eponymous: One for whom or which something is or is believed to be named. Posner refers to his navel as being like “the eponymous orange,” so he is likely referring to the navel orange.

Gobbets: A piece of text used as a context for analysis in an examination. As Hector says, they are “handy little quotes that can be trotted out to make a point.”

Himmler: Heinrich Luitpold Himmler was one of the most powerful men in Nazi Germany. He is hailed as the main architect of the Holocaust.

Monastic: relating to or resembling the life of monks, nuns, or monasteries Last Post: Originally the Last Post was a bugle call used by the British Army to signal the end of a day, it is now used at military funerals or in order to commemorate those who have died in battle.

Pillion: A secondary seat behind the main seat of a motorcycle “Push the boat out”: to spend more than one is accustomed to doing, usually to mark a special occasion.

Quid Pro Quo: The expression can mean “tit for tat” or “you scratch my back, and I’ll scratch yours,” but it can also be used to define a misunderstanding Reformation: The Protestant Reformation, which took place during the 14th and early 15th Century throughout Europe, began with Martin Luther’s attempt to reform the Roman Catholic Church and resulted in a complete schism in the religion.

Renaissance Man: A person who is skilled in many fields Sodding: A British slang term for “damned” Tosh: British slang word for nonsense.

Trollop: A vulgar or disreputable woman, particularly one who engages in sex promiscuously or for money.

Vicar: In the Church of England, vicar is the name given to certain parish priests, particularly in urban areas.

Wanker: A pejorative term literary meaning “one who wanks,” but is used as a general insult.

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TRANSLATION OF THE FRENCH CONVERSATION IN ACT I HECTOR: Where would you like to work this afternoon?

RUDGE: In a garage.

BOYS: No, no.

SCRIPPS: Not again. Have pity on us.

HECTOR: Dakin. Where would you like to work this afternoon?

DAKIN: I would like to work...in a maison de passe.

HECTOR: Oo-la-la.

BOYS: What is that? What is a maison de passe?

POSNER: A brothel HECTOR: Very good. But a brothel where all the clients use the subjunctive or the conditional, yes?

Here. Already a client! Who is the maid?

POSNER: Me. I am the maid.

HECTOR: What is your name?

POSNER: My name is Simone.

AKTHAR: Simone, the gentleman cannot wait.

POSNER: Good day, sir.

DAKIN: Good day, dear.

POSNER: Enter, if you please. There is your bed and here is your prostitute.

HECTOR: Oh. Here one calls a cat a cat.

DAKIN: Thank you, ma’am (referring to an older, married woman).

POSNER: Miss (referring to a younger, unmarried woman).

DAKIN: I want to stretch out on the bed.

HECTOR: I would like....I would like to stretch out on the bed in the conditional or the subjunctive.

POSNER: But your shoes, sir, not on the bed. And your pants, if you please.

DAKIN: Excuse me, miss.

POSNER: Oh! What beautiful legs!

DAKIN: Watch it.

POSNER: And now...Claudine (Timms).

DAKIN: Yes, the prostitute, if you please.

CROWTHER: Sir, I thought that you would want some foreplay?

DAKIN: What foreplay?

POSNER: Claudine. What foreplay is on the menu?

TIMMS: At what price?

DAKIN: Ten francs.

TIMMS: Ten francs? For ten francs I can show you my prodigious chest.

DAKIN: And now, could I touch your chest?

TIMMS: That would cost you 15 francs. For 20 francs you can put your mouth on my chest and agitate...

LOCKWOOD: Agitate what?

9.

POSNER: Another client.

HECTOR: Ah, dear Director sir.

HEADMASTER: Mr. Hector, I hope I’m not...

HECTOR: English, it’s banned. Here we speak only French, according a particular importance to the subjunctive.

HEADMASTER: Oh, ah. And what is happening here? Why is this boy...Dakin, isn’t it?...without his...trousers?

HECTOR: Anyone? Don’t be timid. Tell the Director what we are doing.

DAKIN: I am a man who...

HECTOR: You are not a man. You are a solider....a soldate blessé; you understand, dear Director sir...soldat blessé?

HEADMASTER: Wounded solider, of course, yes.

HECTOR: This is a hospital in Belgium.

HEADMASTER: Belgium? Why Belgium?

AKTHAR: At Ypres, sir. Ypres. During the First World War. HECTOR: That’s it. Dakin is a wounded solider, one mutilated in war and the others are doctors, nurses, and all the personnel of a big medical and therapy establishment. Continue, my children.

HEADMASTER: But...

AKTHAR: How he suffers!

LOCKWOOD: My mother! My mother!

AKTHAR: He calls his mother.

LOCKWOOD: My father!

AKTHAR: He calls his father.

LOCKWOOD: My aunt!

HEADMASTER: His aunt?

TIMMS: The entire family.

HECTOR: He is distracted. He is distracted.

IRWIN: He is commotionné, perhaps?

HECTOR: What?

IRWIN: Commotionné. Shell-shocked.

HECTOR: It’s possible. Shell-shocked. Yes, that is the correct word.

HEADMASTER: Allow me to introduce Mr. Irwin, your new professor.

HECTOR: Pleased to meet you.

HEADMASTER: What I want...

HECTOR: (the subjunctive) Veuille....veu...ille...

HEADMASTER: Vei-ulle. Enough of this...silliness....

1979: Margaret Thatcher begins her appointment as Prime Minister in Britain for the Conservative Party; she is the first woman to do so.

THE BRITISH EDUCATION SYSTEM

Timeline of Britian in the 1980s

In the British Education System, there are a variety of routes a child’s education can take. There are state schools, which provide state-sponsored education, and independent schools, usually require expensive tuition costs. For children who attend state schools, compulsory education starts at the age of 5 with infant schools. At 7 students move on to junior schools, and at age 11, they begin their secondary education. Full-time education is compulsory for children between the ages of 5 and 16.

There are three main schools that a student can attend for their secondary educa1980: British economy enters tion. The majority of students attend Comprehensive schools. A smaller number of into a recession. students go to Secondary Modern schools, which go until the end of their compul1981: Several riots erupt sory education at age 16. About 4% go to Grammar schools, which students can around the country (Brixton, attend from ages 11 to 18.

Toxeth, Chapeltown, and Handsworth) Regardless of where students attend their secondary education, students take the fueled by racial tension and unemployment.

General Certificate of Secondary education (sometimes called O-Levels) at age 16.

Mrs. Thatcher After the GCSE, students can finish their education, or continue their secondary declares that ‘nothing education for two more years. Students who attended Comprehensive and Secondbut nothing justifies what happened’ ary Modern schools usually have to transfer to sixth-form colleges in order to finish and though a public their education, whereas students at Grammar schools can continue their education inquiry suggested the in the same place. Most typically the two sixth-form years prepare students to take government deal with issues of urban decline, the A-Level examinations, which can be taken in various subjects, and most universitheir suggestions were ties require three A-Level examinations for their application. When students apply to ignored. universities, they must select a course (major) on their application. To get accepted 1981: Prince Charles in their course, students often must have high scores on the subject’s A-Level exam, weds Diana Spencer. and sometimes a subject entrance examination is required from each university in order for a student to get accepted. To apply for the History course at Oxford University, students must submit A-Level qualifications in History (or equivalent scores on another exam), a written essay, a History Aptitude test, and an interview.

1982: Unemployment continues to rise.

The students in The History Boys attend a Grammar School, and they are in the final year of the sixth form. They have already taken the A-Level exams, and now they are preparing for the essays, entrance exams, and interviews required for admission to the History courses at Britain’s top universities.

1982: Argentina invades the British holdings in the Falkland Islands.

The Falkland war ends in British victory in June.

1983: Thanks to the Falkland War victory, Mrs. Thatcher wins by a landslide for reelection.

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THE UNIVERSITIES The two top Universities in Britain are respectively, Oxford and Cambridge, often referred to collectively as “Oxbridge” for their shared prestige, exclusivity, and collegiate system.

OXFORD - The University of Oxford is hailed as the oldest university in the English speaking world as well as Britain’s top ranking university. It has 38 independent colleges, each of which handles their own cultural and academic life, tuition and undergraduate admissions. Jesus, Corpus, Magdalen, and Christ Church are some of the Oxford colleges mentioned in The History Boys.

CAMBRIDGE - Cambridge University is the fourth oldest university in the world. It was reportedly founded in 1209 by a group of scholars from Oxford who left following a dispute with the local townspeople. It also has a collegiate system of 31 independent colleges. Despite its similarities with Oxford, the two universities have a history of rivalry.

The Rankings of Universities from The History Boys:

(Taken from the Times Newspaper’s 2009 Good University Guide) Rank 1 2 8 10 17 18 21 24 27 44

University

Oxford Cambridge Durham Bristol Loughborough Sheffield Newcastle Manchester Leeds Hull

1984: The National Union of Mineworkers holds a year-long strike primarily in Northern England, but Thatcher ultimately breaks the streak and the miners return to work without winning any concessions.

1984: Ted Hughes is appointed Poet Laureate of the UK. 1985: Mrs Thatcher becomes the first Prime Minister not offered an honorary degree from Oxford University.

1985: Riots erupt again in many of the same places as 1981 after conditions failed to change.

1985: Poet Philip Larkin dies in Hull. He is 63.

1986: Britain signs the Single European Act, an act designed to create a common market and political cooperation among European nations.

1987: Mrs. Thatcher wins a third term in office.

1988: Thatcher proposes a Community Charge, known as the ‘poll tax,’ a single flat tax for every adult, which is tremendously unpopular.

1988: Stephen Hawking’s A Brief History of Time is published.

1989: The proceedings of the House of Commons are televised for the first time.

1990: Unpopularity from the poll tax and Britain’s foreign policy result in the resignation of Mrs. Thatcher.

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More

about the

Poets Alan Bennett’s script for The History Boys is peppered with literary references. Poets hold a special place in the humanistic education embraced so dearly by the character Hector. Below are some of the poets and poems most frequently: referenced: W.H. AUDEN (1907-1973) Often considered the greatest British poet of the twentieth century, Auden was certainly one of the most prolific. His poetry was noted for its versatility in style and form and technical genius. Auden possessed a nimble ability to incorporate his vast intellectual pursuits into witty verse or profound poem.

His career was launched with the 1930 publication of his collection, Poems. Auden was an avid traveler, but eventually landed in America where he found Christianity and his lover, Chester Kallum. Already a literary giant on both sides of the pond, he spent three years (1942-45) as a professor at Swarthmore, and returned frequently as a guest lecturer

throughout his life. Auden himself was educated at Christ Church, Oxford.

From “Lullaby” Lay your sleeping head, my love, Human on my faithless arm; Time and fevers burn away Individual beauty from Thoughtful children, and the grave Proves the child ephemeral: But in my arms till break of day Let the living creature lie, Mortal, guilty, but to me The entirely beautiful.

PHILIP LARKIN (1922-1985) Larkin is often remembered as a poet of doom and gloom. He was obsessed with death and a lover of dark humor. He was noted for his ability to chronicle ordinary people in their day-to-day lives with detachment, simplicity, and skepticism. Larkin attended St. John’s College, Oxford and then embarked on a quiet career as a librarian, eventually landing at the University of Hull.

From “MCMXIV” Never such innocence, Never before or since, As changed itself to past Without a word--the men Leaving the gardens tidy, The thousands of marriages Lasting a little while longer: Never such innocence again.

A.E. HOUSMAN (1859-1936) Perhaps the inheritor of the Romantic poets, most of A. E. Housman’s poems are rigidly structured and dedicated to the perspective of the young pastoral man. Though he only published two volumes of poetry (A Shropshire Lad and Last Poems), his nostalgic portraits of the common British soldier helped him gain popularity. He was educated at St. John’s, Oxford, where an attachment to his heterosexual roommate helped him realize his own homosexuality. Housman spent much of his life as a professor of Latin at Trinity College, Cambridge and was a renowned classicist.

XXXV (From Last Poems) When first my way to fair I took Few pence in purse had I, And long I used to stand and look At things I could not buy.

Now times are altered: if I care To buy a thing, I can; The pence are here and here’s the fair, But where’s the lost young man?

--To think that two and two are four And neither five nor three The heart of man has long been sore And long ‘tis like to be.

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Scenic Designer DAVID P. GORDON

Costume Designer ALISON ROBERTS

Lighting Designer F. MITCHELL DANA

Sound and Projection Designer JORGE COUSINEAU

Music Director and Assistant Sound Designer DANIEL KLUGER

Dramaturg SARAH OLLOVE

Assistant Director MATT ROSENBAUM

Stage Manager KATHARINE M. HANLEY

The History Boys backdrop by Scenic Designer David P. Gordon The History Boys Costume Design by Alison Roberts Photo by Mark Garvin

DESIGN & PRODUCTION

SECTION THREE: OUR PRODUCTION

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Who’s Who

THE CAST

MATTHEW AMENDT (Irwin) is a 2004 graduate of The Guthrie Theater’s BFA Program, and has been a company member there since 2003, appearing in 11 productions. Notable roles include: Nick Carraway in The Great Gatsby, Con Doherty in the American premiere of The Home Place, and King Henry in the national tour and Off-Broadway run of Henry V, produced by The Guthrie and The Acting Company. In addition, his work has been seen at Seattle Rep, Chautauqua, and many other theaters across the country. A 2008 Ivey Award Winner for Best Emerging Artist as a playwright/actor for the creation of The Comedian’s Tragedy, Matthew is a 2000 Presidential Scholar in the arts, and an Alumni of Pennsylvania’s Governor School For The Arts.

CHRIS BRESKY (Lockwood) is proud to be making his Arden Theatre Co. debut. NY Credits: Taming of the Shrew (Lucentio): Capitol Rep. Old Globe Theatre Hamlet (Osric), Restoration Comedy (Lory), Measure For Measure (Froth), The Constant Wife (Mortimer), Titus Andronicus (Demtrius), Two Gentlemen Of Verona (Proteus), Midsummer Night’s Dream (Snug), Othello Globe Grad. The Fifth of July (Weston), The Absolute Turkey, Richard III (Richmond) Much Ado (Claudio) Elsewhere Metamorphoses (u/s perf- Phaeton/Cupid), The Christmas Carol,The Hit, Cold Comfort Farm: Lamb’s Players Theatre A Skull In Connemara,The Dining Room,The Illusion, Bye Bye Birdie Television: Numb3rs, Medium, Becoming Film: A Machine Beloved, Freshman Year, Platform Philosophy, Perspectives, Glitches,The Young and the Reckless. He dedicates this performance to his loving grandparents with the best seats around.

BRIAN COWDEN (Rudge) is very excited to be making his Arden debut with such a talented cast and supportive director. Brian is a local Philadelphia actor, and a University of the Arts Alumni. He was last seen in the role of Tim in Azuka Theaters’ production of Whisky Neat by Bruce Walsh. Brian would like to thank his amazing cast mates, Terry for giving him this opportunity, his loving parents, family and friends who make this possible, and the Philadelphia Theater community for being so welcoming to new talent. Thank You. ANKIT DOGRA (Akthar) is thrilled to be making his professional debut with Arden Theatre Co. Post graduation from Temple University in 2006, he has worked with PlayPenn, he’s done short/independent films, and industrial videos, one of which is currently being shown to students across Asia to help them prepare for the TOEFL Test. Ankit would like to thank his family especially his brother Ankur and friends for believing in him. He would really like to thank his close friends James Ijames, Kalif Troy, Kimmika Williams Witherspoon, and Leonard Gill for their support throughout the years and having such a positive impact on his life.

MICHAEL DOHERTY (Posner) is honored to be working with this stellar cast and crew. He is currently a senior Musical Theater major at the University of the Arts. Previous Philadelphia credits include HONK! (Theatre Horizon), This is Our Youth (Theatre Revolution), and Watch the Birdie (PMTW). Big thanks to Terry, Tony, Matt and Michael. Love to Mom, Dad, and Jacqui.

DAVID HOWEY (Headmaster) is Head of the Acting Program at the Brind School of Theatre, University of the Arts, Philadelphia. He was an actor in England for 30 years working with the Royal Shakespeare Company, the National Theatre Company, in London’s West End and in innumerable TV series and films.

He has appeared on Broadway twice and performed Shakespeare across the USA, including Macbeth at the Annenberg Center, Prospero at Arcadia University and Shylock, Malvolio and Leontes for the Philadelphia Shakespeare Festival. He has performed with the Walnut Street Theatre, Bristol Riverside, 1812 Productions, Interact and the Wilma Theatre and in The Underpants and Loot at the Arden. It’s good to be back.

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Who’s Who

THE CAST

PETERSON TOWNSEND (Crowther) is thrilled to be working with the Arden again, where he previously played George Gibbs in Our Town in Old City. He was last seen as Sebastian in Twelfth Night at the Chicago Shakespeare Theatre. Other credits include Reggie Banks in Big Doolie (NYC Fringe Fest.); Hospital 2005 (Axis Theatre); Macbeth, Aida,War and Peace (Metropolitan Opera); Franklin in North Star, Jefferson in A Lesson Before Dying (Triad Stage); Wanchese in The Lost Colony (Waterside Theatre);Young Mickey in The Day the Bronx Died, Silvius in As You Like It, Henry in Stand-Up Tragedy (Raymond Hodges Theatre). Television credits: Law and Order: Criminal Intent, Law and Order, Gossip Girl, Sally Hemmings: An American Scandal.

EVAN JONIGKEIT (Dakin) is a Philadelphia based artist working with many of the town’s companies, including Mauckingbird, Walnut St, Montgomery, Pig Iron, PlayPenn, and People’s Light. He also has been seen in films Calendar Girl Killer,The Gift, Fox Television’s Amazing Sport Stories, along with many other independent films and commercials. Evan also serves on New Play Development Literary Committees, as Director of Development for Mauckingbird Theatre, and as a Producer and Director at Cape Repertory Theatre. Evan graduated from Temple University and has continued his education with teachers such as Bill Roudebush and Austin Pendleton.

MATT LEISY (Scripps) is thrilled to return to 1980’s Sheffield after playing Scripps in the regional premiere of The History Boys at the Repertory Theatre of St. Louis. Other credits include:Young Scrooge in A Christmas Carol (Alabama Shakespeare Festival), Mordred in Camelot (Pennsylvania Centre Stage), Great Expectations (Mill Mountain Theatre), Oliver (Westchester Broadway Theatre), The Sound of Music (Broadway Asia), The Importance of Being Earnest (Charleston Stage). New York: NYMF, NAMT,York Theatre, and many readings/workshops. Matt is a graduate of Northwestern University where he played Marchbanks in Candida, Camille in A Flea in Her Ear, and Sir Andrew in Twelfth Night. Many thanks to Chris, Ron, and my family for their unending support! www. mattleisy.com

JONATHAN SILVER (Timms) is honored to make his Arden Theatre debut! A recent graduate of the College Conservatory of Music, Jonathan performed in Spring Awakening, Rashomon,Twelfth Night, Charley’s Aunt, and Lysistrata. He also traveled and performed in Edinburgh’s Fringe Festival.

Love to my Mom, Dad, and Rebecca. For all my teachers, now my friends, who inspired and educate\\ MAUREEN TORSNEY-WEIR (Mrs. Lintott) is so happy to be back at the Arden, and working with Terry Nolen again. Previous Arden appearances: Caroline or Change, A Prayer for Owen Meany and The Baker’s Wife. Most recent role: Lizzie in Cherry Bomb (1812). Played The Lady in Alan Bennett’s Lady in the Van at MumPuppett. Other Philly theatres: Walnut Street, InterAct, People’s Light, Act 11, Theatre Exile. Working in New York for many years noted for Grace in Faith Healer, and Ouisa in Six Degrees of Separation among many others. Film includes featured roles in In Her Shoes directed by Curtis Hanson, and the upcomingLebanon and Buddy Gilbert. Individual Barrymore winner Best Supporting Actress - Angels in America, and Ensemble – Equus.

FRANK X (Hector) is delighted to be making his Arden debut in The History Boys. Last season he appeared in the world premiere of Little Lamb at InterAct Theatre and in The Winter’s Tale at the Folger Shakespeare Theatre in Washington, D.C. Favorite roles have included Malvolio in Twelfth Night (Seattle Rep Theatre), David Gavin in After Ashley (Humana Festival), Sterling North in Permanent Collection (InterAct Theatre), Beringer in Rhinoceros (Theatre Exile), Sam in Master Harold…and the Boys and the title role in King Lear (both at Lantern Theater). Mr. X received a Barrymore Award for his performance in Lonely Planet (InterAct Theatre).

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