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With regret we must say farewell this term to the following members of the community: Mr. Ross is going to Ampleforth as Head of Modern Languages and Mr. Grill to Dauntsey's School as Head of Geography. In the next issue we shall remember their services in more detail. Our best wishes go to Mr. Hancock; we hope his year as Artist in Residence has been enjoyable and we thank him for his many valuable contributions to School life. And, finally, we extend special thanks to Mr. Rainer for returning to Stowe as a part-time teacher of Maths. ovefthe last two terms. E.S.T./T.A.O. The Prefectorial body consists currently of lbe following: N. H. Groves Head of School P. M. Tetlow Second Prefect and head ofTemple J. C. J. Yeoward Deputy Head of School J. R. Hazell, rna. Head of School Elect. S. P. Ferrand Prefect of Mess R. S. M. Morris General Duties A.R.Adam Head ofGrenville M. S. Appleby Head of Lyttelton B. L. Bannister Head of Walpole R. C. Boulogne, rna. Head ofBruce Sarah H. Campbell Head of Stanhope L. E. Chauveau Prefect ofShop A. P. C. Craig Prefect of Mess Fiona M. C. Craig Head of Nugent J. P. Croshy Head of Grafton E. W. Heard Prefect of Chapel J. R. O. Jones-Perrott Prefect of Sanctions M. D. Lewis Prefect of Library I. D. Matlingly, rna. Head of Chatham M. P. Moore Head of Cobham C. W. Royds Prefect of Sanctions A. D. H. Sugars Prefect of Grounds J. P. Summers Prefect of Defaulters R. J. H. Woolley Head of Chandos D. H. Jones as Hamlet 2 3 The Congreve Hamlet, played by D. H. Jones, was too lacbrytnose, more petulant than melancholy. On occasions, his grave words, borne in the play from near·despair, were uttered almost unconsciously. The acting was, unfortun­ ately, ofuneven quality, the delivery oflines often undermining the well-crafted direction of movement and gesture. What makes Shakespeare, and Hamlet in particular, so especial is the power of the poetry. And while, for instance, R. C. Weatherby as a melodramatic Claudius, and Gay Longworth as Ophelia, projected the play's emotional elan energetically enough, one missed the language, that sheer, naked force of the tragedy that moves, delights and instructs. This poetry calls for sensitivity to metre and rhythm, but one wondered to what extent the players understood the words they were enunciating. No doubt, this method accorded with the current vogue in contemporary drama to put the colour ofexpression before the clarity ofdiction. A notable exception to this criticism was Maya Salamon, who brought to her portrayal of Gertrude a natural poise and dignity. Her's was a ·, mature characterisation, giving life to a part that C. E. O. Allerton, D. H. Jones is barely significant to the thrust of the play. Another praiseworthy performance belonged to S. P. Morgan's mountebank Player·King, so freely combining the Thespian and the ham that DRAMA Hamlet rightly questioned why he should weep Congreve Club Play for Hecuba. Gay Longworth made Ophelia interesting for, while as dreamy as a school-girl, HAMLET: PRINCE OF DENMARK she played a pert daughter to a foolish Polonius by William Shakespeare (acted by M. Farah). Also, Ophelia's mad scenes, A critic always approaches a production of never easy on the stage, were allowed to move the Hamlet with a mixture ofanticipation and trepida­ hushed audience. And a word for Osric. For a tion. One hopes for riveting drama but fears minor role, this performance by J. N. L. Arion disaster in inexperienced hands. Here one's rust was SO remarkable that his absurd, limp-wristed impressions were entirely favourable. The set, and loose-hipped courtier caused much superbly painted by G.St.J.S. and M.D.L.H., amusement, vinually upstaging Fortinbras' entry and constructed by Stoics under M.A.C., at the denouement. achieved at once the effects of realism and stylised As usual, poor Yorick got the best laughs, utility (though its static nature foreshadowed aided and abetted by the gravedigging duo, some technical problems). Equally satisfying was executed in indeterminate accents by the brothers the wonderful, haunting overture, scored Rutter, F.W.G. and A.C.E. (There was, alas, specially for this performance by S. A. I. unintended humour in the death of Polonius, Thompson. behind the rickety, makeshift bed and arras). After the cold and eerie chiaroscuro of the first Notwithstanding the difficulties with tbe static Ghost scene, the play opened in brilliant fashion: backdrop ill-serving interior scenes, lapses in the lights revealing a riot of colour and costume memory and a technically untidy ending, this was of a Ruritanian mise-en-scene, set in 1892, or so a resplendent production. I will not say that its the programme notes told us. (I can think of no ambtions exceeded its achievements, for the reason for this specific date in such a vague visual impact was most impressive. The Congreve setting). And so the chemistry of talents awaited Club gave the intractable material a distinct shape the princely catalyst. Hamlet is all about the. and tone, and I.M.S. ought to be congratulated Prince, without whose effective persona, the for avoiding any facile interpretation or trans­ whole play threatens to fall apart. Prince Hamlet position, and permitting the play to stand for is of an uniquely modem temperament. Unlike itself. Tbis was a production successful in convey­ the Aristotelian character, whose moral choices ing the importance of the total effect of Hamlet, stay in regard to action, Hamlet is closer to Henry which is less an 'Everest of drama' than, in T. S. James's notion of character in which everything Eliot's words, 'the Mona Lisa of literature'. is comingent upon personality. T.A.O. 4 5 Maya Salamon as Gcnrudc Gay Longwonh as Ophelia 6 7 Tennant and J. A. C. Ponte in full flood, and Bmce House Play Temple House Play THE 1987 HOUSE B. G. Whitfield accomplishing the most audacious and effective ad-libs I can remember! ONE WAY PENDULUM THE BROWNING VERSION DRAMA FESTIVAL by N. F. Simpson The third production in the Roxburgh Hall was by Terence Rattingan It was reassuring to see a challenging selection of 'It didn't have a plot' or 'I didn't understand it' plays in this year's Festival. The tone of 1986 had Bruce's 'One Way Pendulum', a play which they There are some reasons for wondering whether last essayed in the first Festival seven years ago. were two favourite comments muttered in Stoics are at times unduly fascinated by the been rather bland - too 'well-made' and 'well­ annoyance by some of the audience, after having cushioned' to be wholly attractive; 1987 saw a Opinion was divided on the merits of the play mysterious tensions of school life. In the course itself, some finding its surrealism as brilliant now seen the Bruce House Drama Festival production of twelve months at Stowe, the present writer has return to the more demanding plays which have of 'One Way Pendulum' by N. F. Simpson. often characterized this particular festival. as when it was first aired in the 1950's, others been a spectator at productions of The Happiest feeling the mannerisms to be dated. Naomi Stunt If understandable plot is the main criterion for Days of Your Life, Unman, Wittering and Zigo, From that opening remark it may seem gave a pleasingly bold performance as Mabel drama, then N. F. Simpson is not for you, as his and Quartermaine's Terms in addition to the play contradictory to pass straight to Grafton's Groomkirby and C. N. Royds was an outrageous work sits somewhere between Monty Python and uqder review. Whether such a perspective is production of Wilde's 'The Importance of Being Myra. Not the Nine 0'clock News and has the imagery entirely healthy may be debatable, but there can Earnest' with its eponymous satire on Victorian ofa Magritte painting. be no doubt that the portrayal of schoolmasters in values, but this was a production (by T. W. Bailey In other locations Nugent, Cobham and Walpole presented 'Suddenly Last Summer', 'My It was, therefore, an extremely ambitious such productions can render the staff spectator who also played Jack) which was freshly assessed, uncomfortable at times. strongly cast and acted with panache. Algy is Three Angels' and 'My Cousin Rachel' respect­ choice by Bruce and 1 was particulary impressed usually played as a rather debonair, 'laid-back' ively. The Tennessee Williams' play exerted a by the scenery, which had to change from a sub­ The Browning Version is a powerful piece of dandy: C. M. Lambert's interpretation of him powerful effect in the long-ignored setting of the urban sitting room into a court room at the O'ld drama and it would be surprising if there were no as a rather self-centred, aggressive Hooray Henry Marble Hall. With audience and carpets the echo Bailey. G. H. Bosworth and his team are to be moments when the Temple cast wondered if they fitted the text well and was a great delight, while was reduced to a barely noticeable hint, and Clare complimented on the scenery and special effects, had been too ambitious in trying to stage it. On Maya Salamon's. pert but authoritative Lady Benyon's and Clare Finch's performances were as they were a key factor in establishing the the other, hand their production was Bracknell (who had clearly married into the most successful.

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