RES10197 George Vass Nova Music OperaEnsemble Damian Thantrey That ManStephen Ward Thomas Hyde conductor baritone Thomas Hyde That Man Stephen Ward

One-man Opera by Thomas Hyde That Man Stephen Ward Libretto by David Norris 1. Scene 1: Consultation [10:12] Op. 8 (2006-07) 2. Scene 2: Conversation [9:07] Damian Thantrey baritone (Stephen Ward) 3. Scene 3: Congregation [10:03] Nova Music Opera Ensemble 4. Scene 4: Consternation [10:30] Kathryn Thomas flute Catriona Scott clarinet 5. Scene 5: Condemnation [10:42] Madeleine Easton violin Amy Jolly cello 6. Scene 6: Consummation [12:19] Timothy End piano & keyboard Jonny Grogan percussion Total playing time [62:57] George Vass conductor

About That Man Stephen Ward: World premiere recording ‘[...] a score that deftly conjures up the songs and dances of the era, but also has an apt, brittle edge’ The Times

‘With a modest but punchy chamber ensemble conducted by George Vass, it turned small history into surprisingly large musical gestures’ Opera Now Phot Damian Than ogr aph y ©Hannah Meg tr ey asSt ephen W an Lane ar d (Nov a MusicOper a, 2015pr oduction)

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Thephoneist t theOldBailey . ar es la t hisfriendswillr t d pr y ar erna ed bythepr e t ches andpanic.Her d t t g er epar o t t tha ed withlivingonimmor ak ansport tion . Johnn tion e t tion ak , hasshota tine, furiousa es anov t hisdesk es t o themor e ar t sug e namesands o speakt . Stillw ak o de e alotofgirlsabout. y E ed t ess r g en of es dg er f ally ar o anidyllic ts wha end himselfa dose ofpills aiting f ec eports butis t W e dis o Chris o writ f thehook. ar ombe, an t ha d bec ar ec ound t tinguished t t he d’ a alls a or his ving e a t s tine. emen omes al o t ts. Stephen Ward osteopathy where needed, until the RAMC restaurants… Nightclubs and parties with One diplomat, Yevgeny Ivanov, the Russian intervened… only to enrol him afterwards as lords and ladies, actors and artists, important military attaché and probably a spy, became Stephen Ward, born on 19 October, 1912, ‘a commissioned stretcher-bearer’. foreigners, all the West End socialites. And – friends with Ward – which Ward duly reported was undoubtedly well-bred. His mother was ah – the prettiest girls. Streams of them … to Whitehall. For he was ambitious now. One Anglo-Irish stock; his father was Vicar of As such Ward was posted to India where by aspiration was to help – if only backstairs – Torquay. Thus at thirteen he was sent away chance he quite unofficially treated Jawaharlal By day, too, he was still with the highest in the worsening relations between Russia and to Canford, a brand-new, old-fashioned Nehru who needed attention to his neck and the land and relations in the consulting room the West, soon to culminate in the Cuban country boarding school – and he liked it. shoulders… were more… intimate. His hands: their ear. He Missile Crisis. Fanciful perhaps, but he was For example, he never forgot owning up was their confidential, professional associate. encouraged by ‘government agencies’ to to a schoolboy prank – and taking the … After the War osteopathy began to prosper, Mr Ward, Consultant. By appointment. Best continue his friendship with Ivanov. punishment – though utterly innocent. especially in London where it became quite of all he was Stephen, their friend. Well, one does the decent thing by one’s fashionable. Now Ward found recognition and Ward wanted to help all his friends. One of friends, doesn’t one? with it a position in a fashionable Marylebone Most of these friends were eminent – them, Lord Astor, a millionaire politician and clinic. eminently respectable and eminently married. owner of a great stately home, Ward helped Decent but lazy, Ward left school lacking (As was Ward, briefly.) But quite a few also by guiding him through his first experience much ambition. He drifted. But in 1934, Such treatment was expensive and ‘exclusive’. liked… ‘girls’. Ward, himself liked girls very of a night-club, and as a bonus by introducing with a push from his family, he left for Ward’s first patient was the multi-millionaire much. Very much more than he liked sex. him to Mandy Rice-Davies. In return Astor America where he qualified as a general American Ambassador, Averell Harriman … let Ward use a cottage on his Clivedon estate medical practitioner. next was Duncan Sandys, Winston Churchill’s The girls he liked most were unsophisticated at a next-to-nothing rent. son-in-law… then it was Winston himself, girls, drifting up to London for a bit of fun and He might have stayed there and practised who told Ward (always a very good listener a bit of life. And Ward ‘liked to help’ them And they helped each other by sharing among ‘warm-hearted... hospitable people and easy, conversationalist) that if he – the find both. And he liked to improve them. weekend parties there, Astor providing the ...’. Instead he came home to begin his career Great Man – had ever had his hands around drinks and swimming pool, Ward bringing girls, among the ‘standoffish British’ of Torquay, Nehru’s neck… He met Christine Keeler, for instance, when of course, and before long, trouble, too. as the local… osteopath? she was no more than another Soho showgirl. … Ward was feeling confident and appreciative He was charming; she was seventeen; he It was in that swimming pool one warm At the start of World War II, Ward of his own talents. He set up his own practice offered security – plus fun; she moved in. And weekend in July 1961 that Ward introduced volunteered for the Royal Ar my Medical off Harley Street. Always socially correct and became a favourite at his parties. Christine Keeler to John Profumo, one of Corps and was rejected. But he wasn’t a gentlemanly, he was now suave and polished Lord Astor’s guests and Minister of War in proper doctor, was he? to boot; increasingly welcomed into the best Ward’s parties rivalled any he was invited to. MacMillan’s Government. Profumo fell for social circles. Everyone was there. Girls… And politicians… Christine at once – almost before he could Eventually he was conscripted into the Royal Girls… And barristers… Girls… And be introduced, poolside, to Ivanov, a Armoured Corps, where he practised a little He loved his blooming social life. Only the best diplomats… bosom friend of Christine’s already. More fun; more ‘networking’. published the story, presenting it comically but plain enough for all to see who was who and And helpfully, Ward reported these new what was what… relationships to MI5, who seemed more interested in an easy, sexy girl who might Next day, Profumo rose in the Commons to trap a Russian agent into defecting… deny that his acquaintance with Miss Keeler Wasn’t Profumo’s crush a complication? was at all ‘improper’. He threatened to sue. Something to think about later… Surely from a man of honour that was enough. For a few weeks? six months? Keeler and A call-girl babbling her money-grubbing Profumo carried on their affair, with Ward phantasies to the gutter press? Even her providing their rendezvous. Where better, ‘agent’, that man Ward, had denied it and safer, than his own house? Christine lived was standing four-square behind Mr Profumo. there anyway. So the passion flared – and then it died. Had anyone known? The Press? So that was that… Probably not. Not yet. Except for… ‘events’, as MacMillan is celebrated Then, in 1963, Christine was called as a for saying. And the first event happened very witness in the trial of another ex-lover. This soon after Ward learned that the Metropolitan one had fired off a pistol – at least twice – out Police was investigating him, on suspicion of of disappointed passion. She didn’t turn up. ‘immoral earnings’…

Now, while a jilted lover was everyday, to the Outraged because he certainly did not live on Press Christine Keeler was ‘The Missing anything his girls received… humiliated by the Witness’, a mysterious femme-fatale, a spreading talk making him the centre of high headline. Out of her depth, Christine tried society corruption… and frightened, Ward placating the papers by selling her story. turned again to Whitehall. To tell all… Sex orgies with toffs… a Russian spy… a Government Minister… On 5 June 1963, Profumo rose once more – to admit now that his friendship with Scorching news, heavily stoked by Christine’s Christine Keeler had been an affair. Although imagination. But too hot to handle. Except there was no evidence his romantic interlude by Private Eye who on 21 March, 1963, or his acquaintance with Ivanov had led to any breach of government confidentiality Naturally, none of Ward’s society chums were or national security, for Profumo complete there to speak up for him. How could they? public disgrace follow2ed. Some were already ‘holidaying abroad’; most 5 of them feared for their own reputations. 3 For Ward, too. 13 So there was never much doubt about the The general public, tutting, seemed to enjoy verdict. The prosecution followed the Press these r1evelations. But at the same time the in attacking Ward’12s reputation: he had idea was growing of widespread sleaze at the inhabited ‘the very depths of lechery and top of British society, including government depravity’. On 30 June, in his notorious circles – AND NOBODY’S DOING ANYTHING summing-up Mr Justice Marshall agreed. The 7 ABOUT IT! verdict would be a formality. And Ward knew it. 11 But the Met (urged on by an exceptionally That night he wrote his farewell letters, before severe Home Secretary) were doing taking an overdose of barbiturates. ‘The day is something. Two days after Profumo fell, they9 lost...’ he wrote. arrested Ward on charges of ‘procuring and 8 4 living on immoral earnings’. He’d only tried to help, hadn’t he? Now he was being sacrificed for others – for his friends. He 6 He had little chance of a fair trial. might even have remembered Canford. A scapegoat. Again. The Press had every detail well before the trial opened. When that day arrived, though ‘I cannot face it’, he said. 10 the case against him was weak (little financial evidence) Ward’s friends rushed to the Stephen Ward knew the jury’s verdict but did prosecution’s rescue. not live to hear it delivered. He died on 3 August, 1963. Christine Keeler, a proven liar, and Mandy Rice-Davies, a brazen self-publicist, both © 2017 David Norris testified against him. Whitehall said nothing about their sly use of him over the previous three years.

Thomas Hyde (left) with librettist David Norris Thomas Hyde (composer) Lucille Graham Trust, a member of the Little Junior Fellowship. His many operatic and George Vass (conductor) Missenden Festival committee and also active stage appearances include Deputy Mayor in Thomas Hyde is a composer described by as a writer on music. His study of David Mark-Anthony Turnage’s Anna Nicole and Respected English conductor George Vass Opera Magazine as ‘clearly his own man on Matthews was published by Plumbago Books Marullo in Rigoletto (Royal Opera House); studied at the Birmingham Conservatoire and his own turf’ whose works are increasingly in 2014 and he has recently completed a Lun Tha The King and I, Cinderella’s Prince/ the Royal Academy of Music. performed in Britain and abroad. Born in biography of the Welsh composer William Wolf Into the Woods, Count Ludovic Passion, London he studied at Oxford University and Mathias. Franz/Randolph Sunday in the Park with In 1992, he was appointed Artistic Director of the Royal Academy of Music where his George and Mr Lindquist A Little Night the internationally renowned Presteigne teachers included Robert Saxton, Simon Forthcoming works for 2017/18 include a Music (Théâtre du Châtelet, Paris); Chau Festival in Wales, is founder Artistic Director Bainbridge and Sir Peter Maxwell Davies. setting of the Magnificat commissioned by Lin A Night at the Chinese Opera, Eisenstein of Nova Music Opera and is also Artistic He was Manson Junior Fellow at the Royal the Brugge Concertgebouw for performance Die Fledermaus and Brother Seven Deadly Director of Orchestra Nova. Academy of Music (2001-2) and more by The Sixteen, a new work for the BBC Sins (Scottish Opera); English Clerk Death recently has taught at City University and Scottish Symphony Orchestra in March 2018, in Venice (Opera North, Aldeburgh and As a guest conductor he has worked with the Worcester College, Oxford. In 2016 he and a comedy overture inspired by Les Bregenz Festivals, Opéra de Lyon); Traveller Bournemouth Symphony, Royal Liverpool joined the staff of King’s College London Dawson to be premiered by the BBC National Death in Venice (Opéra de Metz); Pastore Philharmonic, Royal Scottish National and as Teaching Fellow and Lecturer in Music. Orchestra of Wales. Orfeo and Messenger Oedipus Rex (Opera Ulster orchestras and has broadcast for In 2017 he was elected an Associate of the North); Nardo La finta giardiniera (Garsington BBC Radio 3; his ever-expanding discography Royal Academy of Music. www.thomashyde.co.uk Festival); and the title roles in Eugene Onegin includes some thirty commercial recordings and Owen Wingrave. He specialises in for Dutton, Guild, Champs Hill, Lyrita, Naxos, Thomas Hyde’s largest work to date is the contemporary repertoire and has premiered SOMM and Toccata of works by British one-man opera, That Man Stephen Ward, David Norris (librettist) over forty new works. His recordings include composers. premiered to great acclaim in 2008 and Erik Chisholm’s Simoon, Turnage’s Anna recently revived by Nova Music Opera at David Norris worked for many years in London Nicole (DVD) and Sondheim’s Sunday in the In his dual career as conductor and festival the Cheltenham Festival in 2015. Other as a schoolmaster. Now retired to France he Park with George (TV). Outside performing, director, Vass maintains a strong interest in notable works include a string quartet furthers his own education, idly. his English translation of Handel’s Riccardo the performance and promotion of (2009-10), a violin sonata for Jennifer Pike Primo – co-written with Lee Blakeley – was contemporary music. Over the last thirty (2012), a piano trio (2016), and a series of recently premiered in the United States years he has commissioned and premiered choral works published by Novello. Guild Damian Thantrey (baritone) (Opera Theatre St Louis). He is also the a variety of new works from composers Records issued a disc devoted to his Artistic Director of the Hargrave Music including Martin Butler, Gabriel Jackson, chamber music in 2012. Damian studied law at Clare College, Cambridge, Festival and is the guest Artistic Director Paweł Łukaszewski, David Matthews, John working in the City before studying singing at for the 2018 Lichfield Festival. McCabe, Cecilia McDowall, Paul Patterson, As well as his composing and teaching the Royal College of Music, where he won the Robert Saxton, Peter Sculthorpe, Huw commitments, Thomas Hyde is chair of the Tagore Gold medal and held the Mills Williams www.damianthantrey.com Watkins and Hugh Wood. For the operatic stage, Vass premiered with Frederick Delius’s incidental music to Thomas Hyde’s That Man Stephen Ward Hassan. (Hampstead and Highgate Festival, 2008; Nova Music Opera revival, 2015) and for Nova Music Opera celebrated the Britten Nova Music Opera: Sally Beamish Hagar in centenary in 2013 with a national tour of the Wilderness (2013), Stephen McNeff Curlew River and a specially commissioned Prometheus Drown’d (2014), Cecilia McDowall companion piece from Sally Beamish – Airborne (2014) and Charlotte Bray Hagar in the Wilderness. Entanglement (2015). He has also conducted Curlew River (Nova Music Opera, 2013; The company has since had great success, Hampstead and Highgate Springfest, 2009) having commissioned and premiered chamber and Savitri (Nova Music, English Music operas from Charlotte Bray Entanglement Festival, 2010). (2015), Cecilia McDowall Airborne (2014) and Stephen McNeff Prometheus Drown’d www.georgevass.co.uk (2014) and revived Thomas Hyde’s That Man Stephen Ward in 2015. The company has performed at St John’s Smith Square, LSO Nova Music Opera St Luke’s, the Cheltenham, Canterbury, Presteigne and St Andrew’s Voices festivals, A relatively young arts organisation, Nova at the Barber Institute in Birmingham and Music Opera has already established itself for Music at Oxford. as a successful company working with singers and instrumentalists of the highest www.novamusic.org.uk calibre. Its focus being on artistic excellence and creative production, but always with music at its heart. Acknowledgements

The brainchild of respected conductor and This recording acknowledges financial support festival director, George Vass, and founding from the RVW Trust, David Norris, the Hyde producer Alison Porter, Nova Music Opera Foundation for Excellence, and various presented its first independent fully-staged anonymous patrons. The composer wishes production at the 2010 English Music Festival to thank Cydonie Banting as session manager ass – Gustav Holst’s Savitri, performed together and his agent, Ann Barkway. e V g Geor Libretto I saw Philip yesterday. Stephen you are cold and sober. And all that… In their car. You are on the outside – And all that it means… meant… Scene 1: Consultation The Phantom. I said Still. Alone. Himself. Driving himself… I need a friend Still… The first sound is the first pip of the Greenwich Time We were alongside – A girl. Signal (on tape). A counterpoint of news reports I – in my Bentley, too. I said. [Cabaret Song: a spotlight on WARD. A sudden change (phrases taken from an imagined BBC news bulletin of At those new lights by Chelsea Bridge. But here of mood] July 1963). Stage lights up to show WARD (Stephen I saw Philip yesterday. We’re all friends here Ward) in a white medical half-coat standing listening In their car. We help one another “Little baby, it’s weekend. to the news. On the portable table by his side lies, The Phantom. One mind in two bodies. Let’s do my other base – largely – but largely invisible to the audience – the Alone. Himself. Driving himself… My country place – naked figure of his patient, BILL (Lord Astor). WARD We were alongside – [silence] Full of friends. switches off the wireless and attends to BILL. I – in my Bentley, too. At those new lights by Chelsea Bridge. Douglas called me a good egg. Little baby, you’ll meet Bill: WARD He’ll be calling me. Big fish – and smaller fry. That he, being a man Visiting Asper’s, I’ll get by. Just love them all. I Knowingly assisted prostitutes in the plying of Possibly. – Know you will. their trade Eyes front. No body [sic] else this morning, Bill. – Bill, I only wanted to help – He can’t have seen me. Little baby, can you swim? And all the games they played No body [sic] but yours. My darling Christini, – You know, Bill, being a man – [still no reaction from Bill] No more appointments Your best bikini And every penny that they made Till… Will suit… him. – In any way I can – We were as close as – – No one but you, my friend… He was paid Bill, as you and I – Little baby, now we’re here ! -– Man to man. [BILL slowly holds out his right hand, open and That’s Bill Astor’s place: Aha! You were at Asper’s that day, upwards… WARD clasps it, as if it has been extended Such style, such air, such grace – Douglas? Is he well? Weren’t you, Bill ? in an impulsive gesture of friendship and sympathy… Such a dear! With friends – WARD leaves go of BILL's hand… but BILL’s hand is [no reaction from Bill] Douglas, still outstretched – still open! … WARD realizes that Little baby, don’t be poor. And Chrissie… BILL is asking for something – and he quickly Smell the honeysuckle – Of course, he’s fit And Tara the tiger. understands what it is] pure moneysuckle – And fun. And Frankie – Round my door. Always so dapper, The little monk…ey of Eaton Square. Ah. [WARD realizes] And wild – And me. Aha. [WARD is momentarily rueful] Friday, Saturday, Sunday: With one bound he was free, I – And our other friends – Ah. [WARD reaches into his trouser pocket] Fresh air, fast friends, fine wine – smakerals of fun – Ah… [WARD sighs as he places the keys to Spring And all this is mine. [He stops – remembering his own predicament] I am so lucky, Bill. Cottage in BILL’s hand] Till Monday.” Thank you, Bill, Seen him lately? [silence] For Spring Cottage, [BLACK OUT] Scene 2: Conversation Curve your wonderful neck… [In CHRISSIE’s voice, as before] make the party wild. WARD is the eager host. That’s it. Stage lights up to show WARD in Spring Cottage. He Style. “I was lonely out there, Stephen.” WARD is sketching a beautiful young woman (CHRISSIE) who Douglas! You’ve found her. is seated in front of him. Put your small hands here… each finger… here. “So was I.” … and also a drink. Poise. Darling, tell Douglas just what I told you… WARD “Nice flat you have here, Stephen.” That story… We often share a bed. Your lips open… eyes wide… hair free… About Sir Winston, you know… But that’s all. It’s Johnny Profumo! “Keep still now, baby.” A pundit… and Pandit… and little old me!

You’re just this girl, say, Move up to him now. “Are you really an artist?” When I told the Old Man From somewhere. Off the bus, off the train. Ready. Wait for him: That these hands were round Nehru – But beautiful in the rain. His nod. [Is he sketching her or caressing her?] (Osteo-professionally, of course –) On your way, Chrissie, Go on. Now. Round his arms and his shoulders Nowhere. Late in the afternoon. His smile. “Close your lips now, baby.” … and his little brown neck – You stayed there a while, Yes – and you smile. And I’m just driving… somewhere. His first word – “Don’t forget the rest.” [cod Churchillian voice] And I see you, I see you – And you will know how to talk to him. (And what I can be to you – ) “I always start at the top.” “Why didn’t you shtrangle the bugger? Any gentleman And you smile, Chrissie… Call him John. would!” – Here you are. And afterwards… Johnny. “Well, don’t stop there, Stephen.” He’s your man. [A slight loss of wind, accepting the irony in the last You stretch on my chair. I promise. [CHRISSIE (actress) moves to kiss WARD. WARD turns comment] Your legs are… lovely-long: away from CHRISSIE to avoid kiss] So natural… [WARD sings in CHRISSIE’s voice (falsetto) while actress Sensational. You are my perfect model. mouths the words in synchronization] [pause] … but not circulational! I see what I can be for you, Typically Winston! Do for you, Chrissie… “What about Edgecombe? I took off her clothes. He’s a man. My man now. Dried her hair, [A new arrival at the party –] What you can really be. I promised him. And kissed her forehead. You can be perfect: He’s crazy about me – Like a benediction. Peter Rachman! The perfect girl. He says he likes me… a lot.” Mr. Rachman, please may I say - Let me, let me. [LIGHTS FADE] My home is your home [WARD’s in his own voice again] (Or may be one day!) Stretch your soft white arms… like that… Scene 3: Congregation You’re welcome! I liked you, Chrissie, [CHRISSIE moves her arms] With your wet hair. Radio reports (on tape) announce the Cuban missile [WARD looks round the room to identify…] In Oxford Street, that afternoon. crisis. The scene is WARD’s London flat. A wild party Like that… No… Yes! I saw you behind all that rain. is taking place. Or, rather, WARD is trying his best to And Linda. So lovely. So slim and so beautiful. Or will the door fling itself open – just open… Isn’t it? The door is opening… Beautifullinda… Beautifullinda… [He makes a magic wave – like a conjuror – almost Now the day is ending, You were too young to be a… mother! Tommy Cooper!] like that? Thanks for my daily bread, [PROFUMO and IVANOV approach to shake hands. Come on in! Let me get you a drink! And the coke But… A gun shot is heard. All three men suddenly “Your Highness! And the smoke – stop. Then… [He looks around the room again at his guests] Your ROYAL Highness! And all the drinks, Can I get you a gin?” Forgive us our trespasses; A complete change of mood. All three men into a dance And Topper… and Ronnie… and Binkie… And hoping our high-jinks routine, A Cold War Fantasy in which WARD is clearly and… who is that, Boo? – Boo who? [… he tries to draw H.R.H. to his party by making magical Are not offending You brokering a peace deal! hand movements…] – Or anyone! [groan!] Halloo Boo! For ever Another gun shot.] She’s coming… And ever – And Luke… and Deborah… and Bob (hopefully Bing) She’s coming… ‘And I will party for ever and ever’ I think we can end this before things go too terribly far – … and… She’s coming… [orgasmically] She’s almost… A – [men?] [WARD turns his head to the side, stunned.] Ah… Now! It’s Bill! [not that word, instead, rather bathetically…] … arrived! [… then a new and significant guest arrives] [BLACK OUT] Linda! It’s Bill! If H.R.H. comes here tonight, Ah… Comrade Ivanov! Dorogaya Eugenya! Scene 4: Consternation [WARD holds up the keys] Bill, I must thank you for Then this could be Heaven! another weekend. [Pause: the news reports are heard from the wireless…] WARD, head emerging from his hands, is alone again. [WARD, perhaps now a little drunk and certainly very My old friend, my Bill… and Linda… pleased with his apparent success in holding this party, Can I talk to you, Genya? WARD My friend’s friend. sings a hymn of thanks] I want to say something No. That was the beginning… And friends of my friends of my friends. Important and serious – listen! Three shots. Our Father – [Another gun shot is heard] Mr. Profumo – an honour, good sir! [to conductor] Music, maestro, please! Can I possibly help? I want to help! We must be correct. At such a momentous – I know I can… After all, this may be history. And the news is so – My father who is in Heaven – There is a way I can help! Chrissie! Chrissie! Isn’t Heaven like this? [WARD picks up a newspaper and reads…] It’s Johnny! He’s found us a moment on this terrible Isn’t it? [WARD calls over to IVANOV] day! Friendship and laughter, ‘Gunman bursts in! – ’ Here and hereafter; Eugenya! [bringing them together] Johnny! Mister Edgecombe, come in! And my guest of honour? Familiar faces, Mister Profumo, sir! The other Johnny. H.R.H.? Friends in high places… You know Captain Ivanov? (Chrissie had two… ) If, if, if – Girls and Earls! Too many. Will she knock at the door? Isn’t it? So … Do they do that? Shall we take the night air? [quoting again from newspaper] ‘… Drug-crazed… Do they ever do that? Isn’t this Heaven? We can end this before things go too terribly far – love-crazed…’ Crazy for Chrissie. “Now, ‘Astor’, you say… ‘The Model and the Russian Spy – New Revelations…’ Of course it will! – The Earl of – ‘Cabinet Minister and Call Girl…’ Peter… Douglas… Aspers… Calling for Chrissie – [He realises. Suddenly very ingratiating] New pictures. Or Bing… ‘Letters Found in Honeytrap… ‘Darling… Love, J…’’ But definitely Bill. [imitating Edgecombe] “Chrissie! Come out here now!” Oh! Yes, of course, my lord – Any time now, he will. I quite understand. [WARD notices something particular in the newspaper] [quoting from the newspaper again] ‘Bursts into Good night, my lord!” But I don’t think I have to sing any more. socialite’s party – ‘He provided popsies for the rich…’ We’re a club, The policeman said. ‘He?’ We dine, we drink, we agree about things; … Friends’ names… famous names… Me. Bill… He will… Calling for Chrissie.’ “And…? won’t he? ‘Profumo’… “Your crowd has melted, Doctor Stephen Ward”, the And nice neighbours noticed the noise… ‘The Right Honourable’… Policeman said. “Perhaps you would like to come to Whitehall one-two-one-two: [Again, he realises] the station with us, Dr Ward?” [LIGHTS FADE] Are you the comforting Boys in Blue? Ah! No need to bother you with this. Cheerio! [Pause. Then a sudden change of mood into a cabaret Scene 5: Condemnation [WARD now plays the part of a policeman arriving on song] WARD is standing in front of a full-length mirror. He is the scene] “Don’t I know you, young lady ? dressing – preparing for his trial. Mandy… and Linda… and Vicky… I’m expecting the telephone to ring. [WARD as Policeman] Now I do know you… I know it will. WARD Rather a lot of these girls about… Peter… Douglas… Aspers… Not guilty, my… friends! “And who exactly are you, Sir? … “Your crowd has melted. Or Bing… It’s not true! [writing it down] Johnny Edgecombe.” Doctor Stephen Ward? Or, probably, Bill. There was no money, It is Doctor Stephen Ward, isn’t it?” Any time now, he will. (no money really…) ‘Up at the window’ he says… No money on the pillow… ‘Likes her a lot’, he says… [as himself now] He’ll say ‘This is too terrible, Stephen, In the morning… on the bed… ‘Looks down on him’, he says… Yes. That is my name. Yes. But really there’s nothing to fear. [vehemently] It wasn’t trade. She drove him to this, he says… You can always rely on the powers that be. I wasn’t… trade. “Oh – and just one more thing…” Or even [imitating Edgecombe] A word in the judge’s ear.’ My friends know that. “Chrissie! She’s mine!” … the policeman said. I’m waiting here. The girls know that. They’ll testify. [as Policeman again] “So, young lady, your name “A Minister? In here? He’d want to put an arm around my shoulder: All I did is Chrissie? … There’s a bill and someone must pay… Were favours for my friends: And how old might you be, Chrissie? And a Russian? From Russia?” As for Chrissie, ‘Ah Chrissie!’ they can’t Alright Ward, party’s over. prove you controlled her, A girl… a name… a number… I’ll have to take ALL their names…” And then he was cautioning Chrissie. What are you going to say? A little stuff… like that… It’s what you do – [Begins. Writing down.] [WARD reads out once more from the newspapers] So I’m expecting the telephone to ring. You do! – Friends know that. [In voice of a Judge / Policeman / Headmaster] Day after day in the courts… You know what I mean. They always said. “We must end this!” On the streets… They’ll testify. It’s a wish not to let them – To the dunes… you know… The judgement came. I’d rather get myself… a dip in the sea – And if not… ‘Soft is the sand, my dear; And if they disappear… “We must,” we said. Distribute my things. creamy the waves…’ If I don’t hear… You can have the car – And, well, there’s a thermos of vodka, and love before [looks at the telephone] If I don’t hear… The joke was over. But it needs a little oil… tea – Then I will hear – I can still hear – So… one for all [WARD looks up. He seems lost in his own memories] Then… [WARD is momentarily mute] Over the years… And all for one, you know. the light fades… Something to save my – We always do the honourable thing. “Little baby, it’s weekend let’s …” [almost audibly, he does not say ‘ – skin’] But – [Forcing himself to take heart again and “You do your stuff”, I said. [In Policeman’s voice] “Alright Ward, party’s over” continue his idyll …] [An interlude in which WARD keeps lifting the “You do”, they said. telephone receiver to check his line is operational. He So… “My friend’s friends, and friends of my friends of … the evening’s before us, becomes an increasing jumble of nervous twitches “It was me,” I said. “It was me, sir” my friends …” quiet and long. and shaking…] “I. Alone.” I open a window; Stephen. [In Chrissie's voice] “Are you really an artist, Stephen?” I turn down a light – WARD I own up. A few more martinis, [WARD breaks down first [seemingly lost in his own thoughts of his past] I take the fall. “I in my Bentley, too …” laughing at the stupidity of it all, and then into sobs. One for all. Gradually recovers…] I was a boy – among friends – all of us And all my friends… “Douglas called me a good egg!” a familiar song – Dormitory boys. Behind me. And [another mute moment…] Yes, [wryly, at his repetition] again… And the Headmaster gave me an almighty thrashing. [pause] welcome the night! Now. Then. And there was a prank – “You do your stuff”, I said. I was always afraid of this. [WARD returns to his letter. He signs it and seals it in You know… a rumpus… “You do” they said. The moment they threw me to the dogs. an envelope. He props it up on one of the tumblers at Out late… cigarettes… his hand. Girls in the village… [LIGHTS DARK] [WARD now turns to the audience directly for his last Discovery… song – his swansong – a lyrical farewell to the life that WARD stands up and pours himself a full tumbler of And then an endless fuss. Scene 6: Consummation once he lead, or thought he lead.] vodka, putting the glass down afterwards. He picks WARD is writing his suicide note. By his side a bottle of up a brown pill bottle and shakes the contents – all I was in there… somewhere. vodka and, in a brown bottle, the Nembutal pills. The wide open road; the pills – into his left hand. He throws the pills into Oh, it was one of us… two, three of us. a summer’s afternoon: his mouth and swallows them with a drink from his But not me! WARD the girl so sparkling; glass. Then, he refills his glass – to the brim. Holding No… it’s true: [writes] “Thank you for everything… and the air so clean. his glass, he turns to his right to leave the stage … Not guilty! I hope I haven’t let people down Smiling… and laughing… Too much. and soon… soon… Suddenly, he stops. More titles from Resonus Classics He turns and looks out into the audience, as if some friends are arriving (for another party?) … ] Journey to Aldeburgh: Young Britten Chamber Domaine WARD Thomas Kemp (director) Bill! RES10139 Binkie! Boo!! ‘[...] a fascinating recital. Thomas Kemp’s ever- [When he has uttered the last word – with some reliable Chamber Domaine play with consummate irony – he lifts his glass of vodka to his lips… and, assurance, insightful detail’ without stopping for breath, drinks it all down to Classical Ear the last drop.]

END OF OPERA Signs, Games & Messages: Works for Solo Violin by Bartók and Kurtág Simon Smith RES10167

‘Smith’s strong, clear sound is superbly captured in a space that accentuates the disc’s existential aura of one human alone with little but his own consciousness for company.’ Gramophone

© 2017 Resonus Limited è 2017 Resonus Limited Recorded in St John the Evangelist Oxford (SJE Arts) on 27-28 June 2016 Producer, engineer & editor: Adam Binks Recorded at 24-bit/96kHz resolution Cover image: Dr. Stephen Ward on his way to trial at the Old Bailey, London, July 22, 1963. (Courtesy: CSU Archives / Everett Collection)

RESONUS LIMITED – UK

[email protected] www.resonusclassics.com RES10197