WHS Drama & Opera
RETURN
FIRST ENTRY: 1952
LAST ENTRY: 1984
N°: 38
EARLIEST
COMMENTS
ONLY TWO editions of "Janus" are
still missing - Spring 1959 & 1976!
13-2
"Janus" material
"Volume" & Number
Su 1964
 Season & Year
sundry info
not in "Janus"
Huge enthusiasm, energy, pride and the joy of creation leap out from these pages; they make the past come alive, and I find them immensely moving. The WHS cultural heritage was indeed "awesome", a somewhat over-used word these days, but wholly appropriate here. The oldest Old Boys were born around the time of WWII, and especially in the school's first ten years one feels an immense release here after those dark days: a huge expression of hope and creation. And what talent the school attracted, with many boys excelling in more than one field. Legendary names are preserved here: boys who achieved great things both at school and after. By luck and judgement we had magnificent teachers eager to enable and encourage that participation in drama, music, art - and of course sport. It is an unforgettable heritage, and very dear to all who experienced it.
(Chris Snuggs - April 2019)

PS I am always on the lookout for more material! Many productions are well covered, but others not at all. Do rummage through your cupboards and drawers to see what could be added - post 1977 material is a particular unknown. AND of course pls advise me of errors or omissions. DISQUS comments can be added at the top of this page.
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1984
"Disaster '84" (programme)
1982
"The Ghost" (programme)
26/77








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 NO DRAMA ENTRIES
"The Tempest" (programme only)
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MORE


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 NO DRAMA ENTRIES
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W 1965




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13-2
W 1964
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Aut 1959
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MISSING "JANUS" EDITION
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Aut 1958
NO DRAMA ENTRIES
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Aut 1957
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Sp 1957
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Sp 1956




4-2
Sum 1955

ON OPEN DAY the Choral and Orchestral Society gave a shortened concert version of "Trial by Jury". McCulloch sang the part of the Judge well, and good performances of the other solo parts were given by T. Davies, M. Brown, W. Bauer, P. Bennett and P. Mann. The orchestral writing had been cunningly arranged by Mr. Warren so that even the least skilled instrumentalists were able to blow, hit or scratch a useful note every now and then, Mr. Woolford filled in the gaps on the piano.

The chorus suffered from being too small, and we hope that there will be many more trebles and altos at the next concert. Altogether this was the best thing that we have done and was a not unworthy last performance under Mr. Warren, who had worked hard for three years to create a musical society from nothing. We wish him well in his new post at Belfast.

I.M.R.
4-1
Sp 1955

"THE GOVERNMENT INSPECTOR" - by NIKOLAI GOGOL
presented by the Dramatic Society, 25th and 26th March, 1955.

In trying to write a "criticism" of a performance by the School Dramatic Society, as I suppose in the case of a criticism of any dramatic production, one has to decide by what standards to judge the performance. Cutting out the highest standards one is left with (a) the previous performances of the Dramatic Society; (b) the performances one may have seen of other Schools; (c) the performances of non-School Amateur Dramatic Societies.

Thinking back to those productions of our own School Society which can in any way be compared with The Government 1nspector, I feel that undoubtedly a much higher standard was reached in Gogol's play. There was a smoothness and sense of timing and feeling for character which I do not remember having seen so clearly in either The Tempest or Man of Destiny. The whole production was handsomely staged and dressed, and it was pleasing to notice that many of the players wore the clothes of an earlier period with a sense of style. I felt that I would not be in the least surprised to have certain members of the Sixth Form turning up to class in coloured waistcoats, high collars, ragged trousers and frock coats.

The performance also certainly held its own with any other School performance I have seen but that would not be true for anyone who has seen some of the really great productions of certain schools; and I should say that it compared very favourably indeed with most amateur dramatic societies one might see.

The main weaknesses, I thought, lay in the play itself. Out of Russia and out of its time, the idea is not strong enough for a full-length play. One or two scenes dragged, not because of the acting so much as because of the writing; for instance, the procession of officials handing over their bribes to the impostor became tiring. With regard to the acting the only serious fault was in at least two characters who added "business" obviously not intended by the director. Perhaps one of the hardest things for some schoolboy actors to learn is that on the night of the performance they do not replace the director's instructions with some individual acting (or clowning) of their own-particularly when such behaviour is liable to distract the audience's attention.

One of the tests I tried to apply in thinking about the performance was to ask myself whether I felt that I was watching, say, Workman dressed up, or watching the mayor of a small Russian town. The answer, of course, varied from character to character. I was, on the whole, impressed by Workman as the mayor, in spite of his continued tendency to take his lines at too high a speed. I found myself watching a fussy, pompous, bullying little man who perhaps was not quite as outraged as he might have been by the suggestion of his wife's infidelity. Considering the rather forbidding appearance of his wife this was possibly not surprising. Swannell looked like a woman without feminine charm; I couldn't imagine even the pseudo-inspector being interested in her. Swannell did not quite live up to the promise he had shown in his House play at the end of the Christmas term, but I should still like to see him as one of the old ladies of Arsenic and Old Lace with Gilbert as a partner - a Gilbert that is, without his imposing stomach, which in this production he manipulated so successfully. Boyd, as the daughter, looked the part but it is a thankless part and Gogol rather than Boyd was to blame for its shallowness. The assembled rogues of the town - Cox, Glass, Davies, Begg, Bass and Bauer-were a good team. I liked Cox's appearance and presence, although his speech was sometimes too confidential; Glass got inside his part remarkably well; Davies' postmaster amused me very much and I thought the episode of the opened letter a little gem. Begg looked uncomfortable, and Bass and Bauer made me think (inaptly I admit) of Tweedledurn and Tweedledee. When Lamb refrained from over-playing he was very effective and created something of the atmosphere of a Dickensian character. The smaller parts were adequately filled, although I think Rosen worth singling out for a very effective little piece of acting.

Cast

Ammos Fyodorovitch Lyapkin-Tyapkin, the District Judge R. COX
Artemy Filipovitch Zemlyanika, the Charity Commissioner D. GLASS
Luka Lukitch Hlopov, the School Superintendent D. BEGG
Anton Antonovitch Skvoznik-Dhumanovsky B. WORKMAN
Ivan Koosmitch Shpyckin, the Postmaster T. DAVIES
Peter Ivanovitch Bobchinsky, a Landowner B. BASS
Peter Ivanovitch Dobchinsky, a Landowner W. BAUER
Svistoonov, a Constable J. CLUTTERBUCK
Stepan llyitch Uhovyortov, the Police Superintendent M. BROWN
Anna Andreyevna, the Mayor's wife B. SWANNELL
Marya Antonovna, the Mayor's daughter C. BOYD
Yosif, servant to Hlestakov N. LAMB
Ivan Alexandrovitch Hlestakov, a junior official from St. Petersburg, the capital I. MCCULLOCH
A waiter R. BOYCE
Mishka, a servant in the Mayor's house G. BYRDE
Abdulin, a merchant A. SZEPESY
Another merchant R. CROUCHER
Another merchant V. GILBERT
Locksmith's wife R. ROSEN
Sergeant's wife A. KENSINGTON
A scruffy individual M. CRACKNELL
A Gendarme M. CRACKNELL
The play produced by Mr. I.R. BELL,
Stage Manager N. GOULD
Assistant Stage Manager G. BROWN
Lighting D. HARRINGTON
Set built by A. SMITH, R. RONAN and J. CUFFLEY

But after recognising the high standard of teamwork in the play there is still the main character, on whom so much depends, to be considered. And here McCulloch served us very well. On the only occasion when I saw the play in rehearsal I watched the "drunk scene" and found myself watching not McCulloch but a drunken impostor. This impression of a boy really taking on a character on the stage continued during the actual performance. The gestures were appropriate and sure, the timing remarkable, the use of voice and eyes so effective. It was a very fine performance.

But one actor does not make a play, and it was the unity and all-round high standard that was so pleasing - a standard which must have gladdened Mr. Bell; and to him all those who saw the play should be very grateful, as should be those who acted in it for the direction he gave.

L.J.
3-2
Aut 1954
NO DRAMA ENTRIES
3-1
Sp 1954




"1066 And All That"

The Dramatic Society broke much new ground this year. To begin with, it chose a piece both modern and musical. Secondly, it presented the play on an indoor stage, and finally, there were two performances given, instead of the one of previous years. The popularity of the production - and especially of the numerous catchy songs - was obvious to any person visiting the school with an ear to hear with. The success of the production depended mainly on three people, Mr R. Rowland, the producer; N. Lamb, who played The Common Man; and B. Bass, the Narrator.

The enormous problem of casting and dressing this play, abbreviated though it was, was very well solved by the producer and his helpers. In addition, the handling of these large numbers on a very small stage was admirable, whilst the off-stage discipline was very good - no whisperings, shufflings or disconcerting bangs.

To the two main players - N. Lamb and B. Bass - only praise can be offered. Lamb, especially on the first night, was excellent,

 

combining humour with a touch of pathos which was unexpected from so young a boy. Bass, although a little inclined to rush some of his narration, caught well the sophisticated air essential to his part. A few scenes and characters stand out from the rest of the production - Ashdown, Moughton and Simmonds as St. Patrick, St. Pancras and St. Ives; Bauer as the Judge in the Columbus scene; and D. Stevens as the Sergeant in the Henry V scene. But the general level of acting was quite good, and the prompter can rarely have had an easier job.

In conclusion - how is this production likely to affect then future of the Dramatic Society? In the first place it has been proved that a play can be produced in the Gymnasium, although flies and proper curtains are essential for complete smoothness of production. Secondly, we obviously have in the school a comic actor of considerable potential ability - it would be a pity if his talents were wasted. Finally, a large number of boys, especially in the Junior and Middle school, have had the smell of greasepaint in their nostrils. The competition for parts in future productions should be most keen.

R.T.C.
2-2
W 1953

"The Man of Destiny"

The success of the 1952 production of 'The Tempest', the natural beauty of the school's setting, and the physical difficulties involved in staging a play under cover with the school in its present stage of development, have all encouraged those concerned with dramatic productions at Woolverstone to regard an open-air stage as an integral part of the school plays. The handicaps of such an arrangement were made obvious in July.

The play represented was 'The Man of Destiny' by George Bernard Shaw. A stage had been specially constructed with much labour for the performance. Terraced seating gave a good view to most of the audience. The weather was perfect, but for one thing - a breeze which so rustled the leaves of the trees and bushes that much of the performance was inaudible to a great part of the audience. It was a fault which on this occasion could not be avoided, but one which must be overcome in future, or the school plays will be a bore instead of an entertainment.

To the actors themselves, only praise is due. I. McCulloch, although perhaps a trifle taller and fairer than one's conception of Napoleon, brought more maturity to the character than one would expect for his age. This, too, was true of A. Szepesy as the Strange Woman. The playing of a woman's part by a boy is always a severe test; Szepesy passed this test in fine style, and his woman really lived. She appeared quite capable of the bluff and deception which she engineered, and was obviously too intelligent for the brash, bumptious Lieutenant, very ably played by T. Davies. R. Cox as the innkeeper tended to swallow most of his words, but was much appreciated by the audience.

In conclusion, may it be said that the play was well costumed and the production was of the high standard which one now expects from Mr Bell. Both choice of play and acting were more adult than in 1952, representing a very great advance on the part of the School Dramatic Society. If this standard is maintained we can await further productions with keen anticipation.

R.T.C.
2-1
Sp 1953
1-2
W 1952
1-1
Sp 1952