PETERHOUSE
NOSTALGIA
PETERHOUSE
NOSTALGIA
Three plays were staged over the year, Dear Friends and Gentle Hearts in the first term, An Italian Straw Hat - the staff play - in the second and Albert's Bridge in the third.
The Reverend Richard Holderness's musical play about the life of Stephen Foster, writer of such well-known songs as 'Oh Susanna', 'Swanee River' and 'Jeanie with the Light Brown Hair', was presented with one of the largest casts the school has seen - 57, no less. Many of these were girls from Nagel House, including Antoinette Way who had the demanding part of Jane McDowell. There were, too, six boys in the Orchestra. The music was, of course, Foster's, but it was arranged and orchestrated by Mr. Hodgson.
Mr. Holderness based his first musical history of Foster's life on the biographies of Milligan (1920) and of Howard (1953) and information given to him by Mr. Fletcher Hedges who was Curator of the Foster Hall Collection at the University of Pittsburgh. It was not, however, until 1969 that he came across Howard's biography, so that the play, first produced at Ruzawi in 1964, was rewritten to include the fresh material. In this new form it was produced in Scotland by the Angus Amalgamated Opera Company in 1970.
The fact that Foster wrote many of his songs about real people and places was, I am sure, not known to many; nor was it generally known that Edwin Christy founder of the famous 'Christy Minstrels' not only used some of Foster's songs but published and sold them under his own name. Both these themes are central to Mr. Holderness's plot, as too, of course, is the tragic life-story of Foster himself. Foster was not the only creator of popular music who has died tragically and in abject poverty of drink. His struggles to overcome this weakness, and the love and concern of his 'darkie' friends provide some moving scenes.
The star of the school's production was Christopher Johnson. He was quite superb not only as an actor but as a singer. He was ably supported by Antoinette Way, but her performance was not as good as his. Philip Mpambawashe as Joe Aiken (Poor Old Joe) was also outstanding, though I found his diction at times difficult to follow. Mercy Meda as Susanna, the Foster's maid who had a lot to do with his upbringing, gave fine performance. Like the African girls in the chorus, too, she simply 'was' her part and played it with obvious enjoyment.
The choruses and by-play were well managed, though I for one found that the same tunes tended to come rather too often. Mr.Etheridge's sets, which made use of silhouette back-drops and the minimum of props were right for the production which required as much space as possible on a smallish stage.
In all it was an enjoyable performance and it is pleasing to record that the National Theatre Organisation gave its award for the best musical in its National High Schools Theatre Festival to this production.
THE CAST
Joe Aikin - Philip Mpambawashe
Susanna - Mercy Med
Uncle Ned - Guy King
Stephen Foster - Christopher Johnson
Eliza Foster - Kathy Prescott-Decie
Morrison Foster - Alastair Travers
William Foster - Gavin Udal
Jane McDowell - Antoinette Way
Richard Cowan - Reeve Jobson
Dr. Andrew McDowell - Charles King
Edwin Christy - Fedor Scholvinck
Mattie McDowell - Olivia Anderson
Marion Foster - Nicola Haskins
Bones - Charles Pickering
Tambo - Bren Sandford City
City Councillors - James Mackay, Simon Bell
Orchestra: Conductor: John Hodgson
Stephen Atkinson, Philip Rodington, Ian Campbell-Morrison, Stephen Crawford, Richard Gibson, Leonie Holderness, Stephen Morgan.
For the Staff Play Mr. Clayson chose Eugene Labiche's farce Un Chapeau de Paille d'Italie done into English by himself. The play was first performed in Paris in 1851 and though not regarded as a great literary work it is (always excepting Moliere's plays) generally regarded as the first really successful example of modern farce. In its original form it was of the vaudeville genre and was interspersed with songs. Wisely (in view of the musical ability of most of the players in our production) the singing was cut out, though there was one magnificently drunken dance scene.
The quality of the acting varied with the experience of the actors. Mr. Jacklin who had the demanding and exhausting lead (exhausting because most of the time he was rushing about in a muck sweat) has appeared in 20 plays. Mr Davidson thinks his score is the same but cannot remember any of them except "The Grass is Greener": this is because when he was supposed to be canoodling with a lady on a sofa he had an attack of stomach ache which somewhat cramped his performance. Mr. Katso considers his finest performance was as an anonymous soldier in "Richard III" in which he had to die twice. In between there were 24 members of staff and wives whose experience ranged from that of Mr. Martin - who was offered the lead in "The Browning Version" for the South African National Theatre - to that of Candy Jacklin whose best performance was that of Third Water Baby in "The Water Babies" Besides these four boys also took part. The remarkable thing is that with this motley crew Mr. Clayson managed to produce a sparkling performance, to remain more or less sane, and to keep the players firmly under control.
It is impossible to mention all the players in a short review but one can single out first Mr. Jacklin. His part was one that required split second timing and a multitude of entrances and exits; the whole play indeed hangs upon this and a great deal of the credit for the slick performances given is his. Though not much depth of character portrayal is called for he has to go through a bewilderingly kaleidoscopic series of emotions as the highly unlikely events unfold - ecstasy, despair, rage, sheer fright and triumph - and these he carried off superbly. Mr. Davidson as the long suffering Nonancourt was totally convincing, in particular when he was slightly bottled. Mrs. Hammond and Mr. Johnson gave a hilarious performance as the illicit lovers and the passionate cry "Anais!" will long be remembered, as will his desperate attempts to dislodge the fatal hat from the top of a lamp post. (I cannot possibly explain how the wretched thing got there it would take too long). Mr. Katso played Achille de Rosalba. (I can explain the presence of an African in Parisian High Society - he was, of course, the black sheep of the family). His suave drawl and devotion to the higher culture were a delight. Mr. Martin as the wronged husband prepared to defend his wife's honour (or, at any rate, his own reputation) to the death if necessary was equally excellent. All the other players under the prodding of Mr. Clayson and doubtless inspired by the ones I have mentioned performed actually better than the immortal Sarah Bernhardt. If this sounds like praise too fulsome it should be remembered that this was the first play she was ever in: not only did she 'freeze' on the opening night but threw a tantrum as well.
One of the difficulties in staging this play is the necessity for a number of set changes - five no less. Given the rather limited resources of our hall, Mr. Pratt produced some remarkable effects. To convert a bachelors apartment into a Baroness's drawing room into a Parisian square - plus two other sets - was some achievement. It also means that the stage and lighting crew are extremely busy too. Congratulations to them and to the many members of staff and other boys who helped behind the scenes.
THE CAST
Fadinard (a young Parisian of private means )
- Ivan Jacklin
Nonancourt (a nurseryman; his father- in-law) - John Davidson
Beauperthuis (a bourgeois: husband of Anais) - George Marti
Vexinet (deaf uncle to Fadinard) - John Coates
Tardiveau (milliner's clerk) - Mike Hammond
Robin - John Greenacre
Emile Tavernier - Colin Johnson
Felix (servant to Fadinard) - Robin Cox
Achille de Rosalba (a young dandy) - Edmund Katso
Helene - Candy Jacklin
Anais (wife to Beauperthuis) - Barrie Hammond
The Baroness - Bridget Coates
Clara (a milliner) - Wyn Upshon
Virginie - Panna Haskins
A Corporal of the Guard - Bruce Fieldsend
A Lackey to the Baroness - Bob Owtram
A Maid to the Baroness - Jacqueline Clayson
The General - Steve Pratt
The Ambassador - Paul Brodsky
The Bishop - Phil Ward
The Professor of Music - David Etheridge
The General's Wife - Elaine Johnson
The Ambassador's Wife - Lesley Ward
The Bishop's Cateress - Dorrit Becker
National Guards : Bob Owtram, Phil Ward Edmund Katso
Wedding Guests : Christopher Hammond, Nicholas Hammond, Stephen Morgan,
Tommy Haskins
Mr. Jacklin's production of this play was a delight. Much of this, naturally, was due to the genius of Tom Stoppard, who wrote this piece - a radio play originally. This fact accounts for the rather episodic construction of the play and lack of 'curtains'. Staged in our open air theatre this was fine; the rapid movement from The Bridge to Albert's home to the Redsitter he and his wife take and to Paris were readily acceptable. But undoubtedly our experience of radio plays and cinema has made this acceptance possible; on the live stage It was a novelty.
The play is about a bridge like the Old Forth Bridge which has to be painted every so many years and takes that long to paint anyway, so that no sooner have the painters finished than they have to start over again. What happens when the powers that be decide to save money by reducing the painting team to one - Albert - is the central theme of the play. Things do not just happen to the bridge but to Albert and all his circle.
It is extremely funny without falling to the level of farce; at the same time it poses several real human problems but avoids the rather gooey introspection that affects so much contemporary theatre. When Albert delivers his monologues which he does at considerable length, one is fascinated; naturally from way up where he is the world looks different, and it is this diffe.r~nce which he comments on so intriguingly down to earth, as it were, are his employers, his family and the financial wizards who one way and another are responsible for his position and for the catastrophe that finally befalls the bridge. They provide the contrast.
Albert was played by Christopher Johnson, and played with the same polish as we enjoyed in his performance in Dear Friends and Gentle Hearts. Other seasoned players were Peter Lay, Charles King and Jonathan Forrest who were, as usual, excellent. Among the newcomers outstanding were Charles Reeve' s Dave - a dumb-dumb - and Robert Barclay who made a charming Kate.
In all plays lighting demanding business, particularly so in out door ones where difficulties too numerous and ghastly to mention have to be overcome. Charles Pell and Geoffrey Chalk are to be congratulated for their success in this area. Sound effects from squalling infants to a thousand marching feet were super and the set, which I thought at first was some sort of surrealist sculpture, turned out in the end to be a most convincing bridge. I would have liked to see a more complete collapse at the end but, after all, a good many boys actually had to clamber up and down and a premature collapse might have been a truly painful experience.
THE CAST
Bob - Nigel Gambier
Charlie - Trevor Cliffe
Dad - Morrison Sifelani
Albert - Christopher Johnson
The Chairman - Charles Pickering
Dave - Charles Reeve
George - Nicholas Hammond
Fitch - Peter Lay
Mother - Mrs. Jacklin
Kate - Robert Barclay
Father - Charles King
Fraser - Jonathan Forrest
Julie - ChristopherHammon
Pierre - Patrick Blumeris
Robert - George Perkins
Accordionist - Nicholas Hammond
Painter - Grayham Beazley
Cyclists : Richard Bradshaw, Guy McGhie, Timothy Martin, Adam Watson.
The club has continued to expand and has enjoyed considerable support from the boys. During the first term were given a VW Beetle by the Imperial Tobacco Company for which we are very grateful. This proved to be an idea! car as although it was a potential runner there were sufficient repairs needed to keep the boys busy. The tasks carried out on it have included rewiring, fitting new headlights, repairing the clutch and brakes and tuning the car. By the end of the third term the VW was often heard making test runs around the school. Other tasks tackled this year hzave included servicing and repairing lawn mowers, re-assembling a motor bike, repainng a typewriter and completing several small jobs on our Opel. Next year we hope to add a starter motor to the VW and improve its exhaust system and tyres. We still need to increase our range of tools and we wouId like to find many more projects for the boys to work on.
In 1978 we had five matches; two against Churchill, one against Cranborne, one against the staff and, of course, the Inter-House. We lost both the Churchill matches but managed to close the gap between the scores considerably in the second one. We only just lost to Cranborne, and we beat the Staff. In the Inter-House Founders won both trophies. We would like to thank Mr. Ireland Jones for the kind gift of a telescope.
After a trial run at the end of 1977, the art of swordsmanship drew the interest of a large number of boys at the beginning of the year. Though run as a 'society' many would like to see fencing established as a minor sport and it was largely the 'Tuesday Ist half' image that caused some reduction of attendance in the last term.
Three matches were held, our debut being against combined Prince Edward/Allan Wilson team, who defeated us by ten bouts to six, with four seniors taking part. In the Michaelmas term we took three seniors and three Juniors to Salisbury, but mixed the teams on arrival. We beat Prince Edward by six bouts to three, but lost to Allan Wilson eight to one. During the Easter term of 1979 we hope to entertain these two schools on our own piste, as well as holding an inaugural match against Mabelrein Girls High School.
Christian Vind and Lothar Nessman were awarded 'Credits' for their services to the Club.
Activity in the first term centred round the school's production of Richard Holderness's Musical 'Dear Friends and Gentle Hearts' in which girls from Nagel House and various members of the Choir and the school took part. The school orchestra provided most of the music for this production.
In the second term Mr. Hodgson was absent on long leave and we have many people to thank: Mr. Etheridge and Mr. Singleton for looking after the music in the Chapel, Charles Bell for accompanying some of the services, Miss Langley for teaching the piano pupils and Christopher Johnson with Charles Pickering, the two Senior Choristers.
In the third term the Choir took part in the annual Marandellas Schools' Christmas Concert, and in a most successful School Carol Concert. Dr. Malcolm Hayes gave a memorable Flute Recital at a meeting of the Music Society. Our thanks go, too, to Mr. Webster for teaching the Woodwind and Brass pupils.
The Society has been involved in the development of a series of bird-baths and feeding stations which can be used for bird photography. The baths and tables have proved very popular with the boys as there is a continual stream of bulbuls, weavers and sparrows coming to feed, drink and bathe. Thus the aspiring photographers always have suitable subjects. There have been some very good portraits and they will improve with practice.
Despite not being able to visit Botswana we have been able to continue with our expeditions. Thanks to the help given by Mr. Peter Milstein of the Transvaal Division of Nature Conservation and Dr. Alan Kemp (a Petrean) of the Transvaal Museum, Pretoria, we have been able to visit the Transvaal. In December we went to an area near Barberton to prepare a report for the Transvaal Division of Nature Conservation. A full report has not yet been completed, but the over-riding memories of this trip are of early risings and mid-day heat.
|
|
