Drama

Woyzeck Captain Doctor Andres Marie Kate Drum-Major 1st Showman Corporal 2nd Showman 1st Apprentice Grandmother

WOYZECK by Georg Buchner THE CAST

Sandy Day Mark Burn Richard Bronk Patrick Crowley Louise Stansfield Zoe Jackson John Healey Ian Wiggle Tim Raylot Phil Lancaster Jeremy Markwick-Smith Susan Elston

THE CREW Stage Duncan Fawthrop, Bob Marsland, Tim Prosser-Higdon Lights Brian Macdonald, Steve Atha, Terry Wallhead

Producer: Ian Lowe

About the Play:

George Buchner (1813-37) died of typhus at the age of twenty-three, leaving his fourth play 'Woyzeck' unfinished. The play is based on an actual event. In 1821 a soldier named Woyzeck killed the widow with whom he had been living. Three years later, despite the suggestion that he might he insane, he was publicly executed. Buchner crams into his play, which is only twenty-four pages long and contains as many episodic scenes, an entire vision of oppressed and suffering humanity. His Woyzeck, who is in his dumb way deeply virtuous, is oppressed by society in the persons of the Doctor and the Captain who exploit and abuse him; by the Drum-Major who seduces Marie, his woman, and then persecutes him; and above all by Marie, whose infidelity destroys his one prop in a hostile and largely incomprehensible world. `Woyzeck' has been called the first modern tragedy, because it has a working-class hero whose predicament is portrayed with insight and compassion. But its importance is much greater than that. In its poetic vision, its scale, variety and scope of theme, it anticipates by at least fifty years many of the major achievements of 'modern drama'. (adapted from `Sophocles to Fugard' by Brian Stone and Pat Scorer)

About the Text:

Buchner left four separate manuscripts of the play, all of which are fragmentary and contain much overlapping material. Various scholars and producers have attempted to assemble a definitive text, with differing results, some leaving the play 'open-ended' as I have done, others suggesting that Woyzeck drowns, as in the version Berg used for his opera 30

'Wozzeck',. In attempting my own solution I have tried to remain faithful to Biichner's original intentions while devising a scene arrangement that I hope is dramatically satisfying. I have begun the play by establishing the forces working against Woyzeck—the Captain, the Doctor, his visions of destruction (with Biblical references to Sodom and Gomorrah and the Last Judgement); then suggesting his relationship with Marie (the still point of his turning world), before showing the betrayal of that relationship. 1 have taken the idea of the mill-wheel, used by the Captain at the start of the play, and have made this the dominant visual image of the production, using it also as a device for dividing some of the scenes. The only major changes I have made in the play are in its music. Biichner wrote in a Hessian dialect and made extensive use of local folk-song. Wherever possible I have used equivalent English folksongs (`The Unquiet Grave', 'The Water is Wide'), or where that has not been possible have either adapted the original words to fit folk-song tunes (e.g. Tilliburlero) or found folk-song words for which Patrick Crowley has composed new tunes.

1.M.K.L.

WOYZECK—not Everyman, but Every Man's whipping-boy, and so, potentially Any man: that's a grand pronouncement, worthy even of the Drum Major. A disturbing pronouncement too, about a German play written a hundred years before its time. Prophetic. For the Drum-Major, bully-boy, could be Any Man too; and most of us are complacent as the Captain.

Disturbing. A disturbing play; perhaps a great play, unfamiliar to most of us.

It was an "experimental" production and what an experiment! In The Round, the mill-race turning, grinding-down the poor, feeding the fortunate.

Heavy Symbolism!

Aha!—unfashionable; something to criticise; but it would be glib criticism and unfair. It was more than symbolism; it was both the theme and inspiration of the production.

Sandy Day knows he is not yet versatile, but his Woyzeck was an outstanding performance by any amateur standards. He was a man frustrated beyond endurance, not just at the agony of his impotence against exploitation, but also at the stagnation of his own intellect. Buchner, 1 think, wanted to show the tragedy of denying a man his potential and of Society thus wasting its own talent.

The agony of a mind full of ideas and no vocabulary to express them produced Sandy's twisted, tortured expressions. He wanted to communicate, but seemed only a buffoon. So he retreated and gave us the vacant stare, the bovine submission, only to break yet again into frustrated anger at himself. These were not the only contrasts. Woyzeck was happy for a time, naively happy, and Sandy showed us the gentle touch of simple love and then the awful realisation of betrayal and the deadly obsession with revenge. Woyzeck became both animal and man, a bull in the ring, provoked beyond reason, yet human as well, cunning in despair. Well done Sandy; it was all there, in your hunted, obstinate expression, your fixed stare.

Other performances were not eclipsed.

Mark Burn as the Captain, bluff and insensitive of Woyzeck at first. and later too indifferent to help.

Louise Stansfield as Marie, passive and maternal, with just a hint of the latent wildness; at her best when regretting her own baser nature: a schizo-phrenic. I would have liked the contrast to have been more marked.

John Healey as the Drum Major, the Cock o' the Walk—cynical, selfish, brash, full of life; just the man for Marie. John really had to act, for he was anything but type-cast.

It was a great team effort, epitomised by the spontaneous élan in the Scene at the Fair. What tumblers! What roustabouts! What ZEST! What a frenetic hurdy-gurdy of a tune!

What a contrast with the cold understatement of Patrick Crowley's voice and guitar elsewhere.

Contrast.

If the mill-race was the inspiration, then Contrast was the selfconscious strategy of this very successful production: the sudden change of mood: the shock. Disturbing. Good Theatre. Very Good.

J.P.R.

"TRIAL BY JURY"

"Trial by Jury" was presented in the Memorial Hall on the 8th, 9th and 10th December 1977. Semper fidelis—full houses each evening—and the truism still appies, that nothing staged here succeeds quite like G and S, assuming a fair criterion to be the immediate involvement of audiences responding with complementary rapport to Edmund Field's eighth excellent school production. A pleasant blend of musical and vocal expertise was offered by a talented cast, the musicians, commendably, now in imposing proportion members of the School. The first, most obvious effect was, of course, visual, the stage replete with vivid sartorial contrast (well done costumiers, sewers and menders!), the Lawyers and Members of the Public balanced in colourful humour and size against the more sombrely attired and vocally subdued Gentlemen of the Jury. Dominant (or domineering?) in his centrality, Mark Burn, in shape and antics designed to test our faith in a temperate judicature, earned the concluding eulogy—"and a good judge too." His rotund ebullience and fiery vocality was appositely complemented by a more earnestly melodious Patrick Crowley as the Defendant, and Paul Aagaard as the Counsel for the Plaintiff, both able to communicate with some impact to the furthest regions of the auditorium. Congratulations to Jill Gillett on being the first girl member of the School to take a major part in a School Gilbert and Sullivan production: her rendering of the Plaintiff achieved delicate poise between staunch single-mindedness and pitiable frailty. Attuned to and convinced by her pleas, we even began to regard as injudiciously distracting Mark's humorous background histrionics. The The Usher (Kit Bird) and his assistant (Mark Anderson) upheld the probity of the courtroom whilst allowing rein to the satire, persuading us not to take too seriously these amorous proceedings. Thus, colourful spontaneity, vocal conviction and an overwhelming sense of enjoyment 32

were conveyed to audiences who were nightly appreciative of the pro- duction and who departed saddened only by a realisation of its brevity. R.J.B.

SHEPHERDS' PLAY & CAROLS December 14th/15th 1977

The Drama Centre was used to great advantage for this entertainment, an evening divided between music and a mystery play. The wind band, under the direction of Mr. Riley, played first for the audience to sing Christmas carols, establishing a convivial mood at once. There followed a charming selection of Christmas music arranged by Leroy Anderson; the orchestration for wind instruments was amusing, and seemed as much fun to play as it was to hear. Three carols, arranged for recorders and percussion and played by Philip Burton, Robin Jones and Michael Bowstead, showed the acoustic virtues of the building as well as the talent of these young musicians.

Refreshed by an interval for coffee, the audience sang again—after obediently rehearsing the 15th century tunes—to open the Wakefield Second Shepherds' Play, from the Towneley Manuscript, put into modern English by David Holbrook. The play begins on a note of realism and humour with the three shepherds' account of the miseries of their lives and the shortcomings of their wives. Jonathan Brierley, Colin Hill and Michael Shipley handled this exposition in a natural style; they all gave mature performances, and took care that the significance of their lives should not be lost. The creation of the lonely mood of the winter hillside by the restrained use of recorder music was good indeed, and the rough peasant costumes helped to set the mediaeval mood.

With the entry of Mak the Sheep stealer, played by Robert Hall with great gusto, begins the development of an interlude which has lost none of its comic power in the five centuries since it was written: a lamb is stolen, the theft discovered, and Mak persuades his wife, Gill, to hide it in her bed. Timothy Linton gave the female role a forthright Charley's Aunt treatment, adding greatly to the laughs, and the plot proceeded with a relentless, crazy logic until, when Robert Hall pointed to a stuffed cuddly lamb, pronouncing, "I am the father of that!", the audience was helpless with laughter. The expiation of Mak's crimes is accomplished in a simple, childlike way, and the author prepares us to turn to the serious object of the play with the appearance of the Angel. In a scene of real dramatic power, Simon Woolions gave this part great dignity.

The Nativity of Christ, to be contemplated in the closing scene, was acted with feeling, and the beautiful verse spoken with reverence as the author surely intended it to be. The well-known story was given a new poignancy in this excellent performance. P.J.B.

PROGRAMME

THE WAKEFIELD SECOND SHEPHERDS' PLAY from the Towneley Manuscript put into modern English by David Holbrook. The audience is asked to sing two Carols, one at the start and one at the end. 33

AT THE START:

THIS ENDRIS NIGHT (15th Century) This endris night I saw a sight,

A star as bright as day; And ever among a maiden sung,

Lullay, by by, Lullay! This lovely lady sat and sung,

And to her child did say: "My son, my brother, father dear.

Why liest thou thus in hay? "My sweetest bird, thus 'tis required,

Thou thou be King veray; But nevertheless I will not cease

To sing, by by, lullay!" The child then spake in his talking,

And to his mother said: "Yea, I am known as heaven-king,

In crib though I be laid: "For angels bright down to me light:

Thou knowest 'tis no nay; And for that sight then may'st delight

To sing, by by, lullay!"

1st Shepherd, Coll 2nd Shepherd, Gib 3rd Shepherd, Daw Mak, the Sheepstealer Mak's wife Gill 1 Mary An Angel CAST

Jonathan Brierley Colin Hill Michael Shipley Robert Hall Timothy Linton

Simon Woollons

CREW

Stage Manager

Christopher Bentley assisted by Richard Ivcson

Prompter Clive Broadbent

Props

Jamie Holden Lights Stephen Atha, Terry Wallhead Music arranged and played by Philip Burton, Robin Jones and Michael Bowstead with assistance from Paul Bainbridge and Howard Gatiss. Costumes Noreen Gypson Producer Peter Gardiner

NOTE ON THE PLAY

This remarkable 15th Century play has been called the first English comedy.

The writer, the so-called Wakefield Master, grafts onto the simple account of the Shepherds in St. Luke's Gospel two elements—first, a feeling of contemporary Yorkshire, seen in the complaints by the two older shepherds against the weather and their masters, and in their treatment of their boy, the 3rd Shepherd; secondly a richly suggestive folk-tale, featuring a comic rogue, Mak, the wild man of the moor, who may stand for the fallen Adam that 34

Christ was born to save. Before the birth at Bethlehem, we are shown a farcical parody of childbirth, with several double meanings (the lamb-Christ; suggestions of the Eucharist). It has been suggested that the author, "drawing upon fertility rituals, incorporates the ritual of the death and rebirth which was celebrated at the winter solstice".

At any rate, it seems clear that, in the original performances, the actor in the troupe who played Gill also played Mary, and that that part of the stage which was Mak's cottage was also a stable at Bethlehem.

AT THE END :

PERSONENT HODIE (Tune of 1360) (Words found in Piae Cantiones 1582) Personent hodie Voces puerulae Laudantes jucunde Qui nobis est natus, Summo deo datus, Et de vir-vir-vir, et de vir-vir-vir. Et de virginco Ventre procreatus In mundo nascitur. Pannis involvitur Praesepi ponitur Stabulo brutorurn Rector supernorum Perdidit dit-dit, perdidit-dit-dit Perdidit spolia Princeps infernorum Omnes clericuli Pariter pueri Candent ut angeli, Advenisti mundo. Laudes tibi fundo, Ideo - o - o, ideo - o - o [deo gloria In excelsis deo!

AN EVENING OF MUSIC AND DRAMA

Those who attended the evening of Music and Drama in the Drama Centre on Friday, 24th February were left in no doubt as to the very considerable piece of music written by Robin Walker (Old Peterite) specially for the Drama Centre and for the 1350 Celebrations of the School. His musical setting of "The Bird-Catcher in Hell" (a Japanese Noh play translated by Arthur Waley and set as a music-drama) proved to be a thrilling and inspired work. There must have been difficulties for actors and musicians alike, but all concerned proved themselves worthy of the challenge and this first performance came over splendidly. Gordon Pullin's fine singing of the wordless music was an unusual feature and the boys who took part are to be congratulated on their performances, especially Timothy Kaner as "Kiyoyori", the Bird-Catcher. The cast also included Craig Lawrence as "Yama", the King of Hell; Mark Heywood, James O'Farrell, Nigel Beaumont, Adam Brown, Guy James, Michael Reed as realistic demons; and Fergus Craig and Andrew Whipp as the Chorus. Excellent masks and costumes were by John Gaastra and Noreen Gypson. The music-drama was directed by Peter Gardiner and conducted by the composer.

The Bird-catcher in . . . the Drama Centre.

The evening began with Ravel's Chansons Madecasses sung by Gordon Pullin, and readings by Peter Gardiner and Ian Lowe, which took the place of Yeats's Purgatory on the first night.

It was an evening with a sombre air and maybe not everyone's cup of tea. Perhaps another time we might see what Robin Walker can do with the Bird-Catcher in Heaven!

On the second night, Yeats's one act play Purgatory, which had been cancelled the first night because of illness, was performed.

Purgatory was appropriately placed between the paradise depicted by the Ravel songs and the Bird-catcher's Hell. The play (written in the sparest verse in a mood of intense gloom) tells of the purgatory of a dead woman haunting a ruin, once a fine country house, compelled to relive a guilty moment in her life from which a chain of consequences has evolved. Her son, now an old man, attempts to read her mind and indeed to lay her ghost by destroying his own son, a bastard likely, to judge by the unpleasant remarks he makes in the play, to spread further moral pollution. The old man murders the boy, in the hope of concluding the tale, but. though the ghost seems to have been relieved in the closing moments of the play, the haunting continues without respite. The intensity of this depressing play depends on the acting and verse-speaking of the actor of the Old Man. Tim Raylor portrayed this part with great sensitivity, adapting his voice to the old man's moods, by turns cantankerous, agonized, tender and murderous. As the unpleasant boy, Julian Wilson was a touch too polite perhaps but acted with gusto, once the character was roused.

B.C.

PASSION DRAMA

Thursday, 16th March, 1978, in the Drama Centre

The Oberammergau Passion Play is performend every 10 years in the small town of Oberammergau in Bavaria, fulfilling a pledge made in the 17th century by the townspeople to God in thanks for protecting them from the then fast spreading plague. With the assistance of 23 boys, 2 girls, slides and music, Christ's Passion—the sign of God's pledge of love, justice and forgiveness to us—was movingly relived under the direction of the Chaplain.

With most of the characters some distance from the screen there was a temptation to lose concentration occasionally but, nevertheless, there can be no denying the ringing clarity of the message. Richard Bell and Craig Lawrence narrated clearly as with enthusiastic performances from Paul Moayyedi as Christ, Louise Stansfield as Mary and David Pemberton as Pilate we were led simply through many familiar scenes which now became refreshingly alive. Judas's confusion and treachery suddenly became very personal as we realised how glibly we do exactly the same: "You pour curses on Judas Iscariot And yet in the same paths you tread; For envy, greed and brother's hate Unceasingly exterminate Man's peace, and joy, and blessedness."

All too quickly we were led through the tragic, corrupt trial, with ilate desperately trying to find a way out, and understand Christ, until 37

with fresh power we heard those words hitting straight at our hearts, "Father, forgive them, they do not know what they are doing".

No time to ponder —the death conquering resurrection and subsequent triumph and glorification were again all too short—but again the point

was unmistakable: "Hallelujah! To Thee who hast risen! . . . Thou hast purchased our salvation, After death—Eternal Life! "

Our thanks to Mr. Roden and his excellent team for a skilfully

produced and heart warming evening. I.J.A.

THE CAUCASIAN CHALK CIRCLE

SCENES FROM THE PLAY BY BERTOLT BRECHT

Cast

Chorus The Governor The Governor's wife The Adjutant Prince Kazbecki Timothy Kaner Craig Lawrence Anna Sampson Fergus Craig David Kean

Two doctors

Andrew Eyre, Martin Worner Simon Grusha Roderick Craig Janine Tapp Servants Bridget Gray, Christopher Drury, Michael Shipley Ironshirts Azdak Grand Duke Invalid Carl Hancock, Colin Hill Timothy Raylor Rupert Smith Andrew Shuttleworth Limping man Christopher Drury Blackmailer Andrew McMeeking Two Lawyers William Sellers, Craig Lawrence Corporal fain Davie Old couple Bridget Gray, Andrew Shuttleworth Michael James Allen Musicians Michael Bowstead, Philip Burton, Robin Jones, Robin Litten, Peter Fender

Lighting Props Producer Stephen Lister Jamie Holden Peter Gardiner

Scenes culled from Brecht's lengthy epic drama made for an hour' rather puzzling entertainment on Friday, June 16th. The audience, despite the narration provided by Brecht and clearly enunciated by Timothy Kaner, did not seem to master the rudiments of the political intrigues in the state of Crusinia 'in olden times'. Perhaps the lack o spatial definition, by the use of a bare stage with simple platforming, guided the audience's eyes too little; perhaps the inexperience of th e IIIrd and IVth formers, compared with the half dozen VIth formers in the heftier roles, meant that sections of the play were not projected with the requisite confidence or clarity.

This said, there was much to enjoy. The play rotated securely on the twin poles of two remarkable characterisations: Janine Tapp playe . Grusha with a sure touch, as a tough, obstinate, quietly smoulderin 38

woman, yet with a warm heart in spite of herself; and Tim Raylor was given a chance to be outrageous as Azdak — this rogue was frantically disgusted by the human stupidity around him, and craftily concerned with saving his own skin, yet was able to evolve a humane morality — 'what there is shall go to those who are good for it'. Anna Sampson acted the part of the empty-headed and vicious wife of the Governor with great relish, and Roderick Craig exuded manly fidelity with a twinkle in the eye. Among the many IIIrd and 1Vth formers in the cast who were able to gain acting experience within the stringent teamwork demanded, mention should be made of Richard Elston's coy and slatternly village policeman (a delightful characterisation), and Colin Hill and Carl Hancock as a couple of soldiers of notable irresponsibility.

But all played their part in a large team and seemed to be enjoying themselves, and their enjoyment was soon shared by the audience. P.A.E.

HOUSE ENTERTAINMENTS

This year's House Entertainments took place on the Friday before the half term holiday amid much enthusiasm from an appreciative audience in a packed school hall.

All Houses contributed artists for the event and the performances were arranged in such a way that all the items could be enjoyed whether they were serious or light-hearted in mood. Most of the more serious items were placed in the first half of the programme leaving the humorous items to round off the show and leave the audience in a jovial mood for the half term holiday.

The high standard of the acts was appreciated by all those present and indeed at times the applause lasted such a time that it seemed it would never end. Martin Gargan as M.C. took this in good part and indeed encouraged one group to come back for an encore which they duly did much to everyone's delight. Credit must be given to all who took part for their ingenuity in picking the various items for performance; and who would have thought that a rendering of Linden Lea by Dronfield could compare with Fatbelly Jones and partner of the Two Ronnies fame, or the string quartet from Grove with the four Rock and Roll artists from Queen's?

The participation of the female members of the school, especially from Manor, added colour to the event and they must surely have found it extremely warm work dancing the "can-can" to Abba's Waterloo. They all looked remarkably like the House Rugby team but perhaps the light was playing tricks! Queen's did produce a real female star (apologies to the boys of Manor) with Miss Mop (Bridget Gray) using the whole stage in front of her male backing-group.

On reflection most of those present will remember the light-hearted acts best of all, but it must be remembered that other individuals did receive rapturous applause after their turns. Patrick Crowley with his own composition on the piano started off the evening with a very clever arrangement which incorporated all types and styles of music from classical to rock and roll while Mark Burn, David Reed and Babak Saber captured the audience with a guitar and flute piece during which silence was not even broken by a cough.