REVIEW: Hamlet

A Festival of Britain Production by arrangement with Bronson Albery production. Sherek Players Ltd. (in association with he Arts Council of Great Britain).

Opened at The New Theatre, London – Thursday, May 17th 1951.

Character: Voltimand and Third Player (Lucianus in the “play within a play”)

  • Scene 1: Elsinore, A platform before he castle.
  • Scene 2: A room of state in the castle.
  • Scene 3: A room in Polonius’ house.
  • Scene 4: The platform.
  • Scene 5: Another part of the platform.
  • Scene 1: A room in Polonius’ house.
  • Scene 2: A room in the castle.

Act 3:

  • Scene 1: A room in the castle.
  • Scene 2: A hall in the castle.
  • Scene 3: A room in the castle.
  • Scene 4: The Queen’s closet.

Act 4:

  • Scene 1: A room in the castle.
  • Scene 2: Another room in the castle.
  • Scene 3: Another room in the castle.
  • Scene 4: A plain in Denmark.
  • Scene 5: Elsinore. A room in the castle.
  • Scene 6: Another room in the castle.
  • Scene 7: Another room in the castle.
  • Scene 1: A churchyard.
  • Scene 2: A hall in the castle.

Some Background

The sets, which one critic described as a “formal and rather bleak affair” were, again, at Guinness’ behest, as he had disliked the semi-permanent and realistic sets he’d seen in other productions of Shakespeare. he’d wanted a suggestion of reality here and there, and came to the conclusion that each scene could be played round, or influenced by, one or two specific real things – for instance, the battlement scene round a Tudor cannon, the Polonius household a table with a globe and papers, the main court scenes dominated by a large Renaissance classical doorway, and for the rest blackness and open wings. This did not work out overly well, and was not put to the best use.

Very little of the play was cut. Retrospectively, Guinness believed this to a misjudgement. He said it occurred later that perhaps Elizabethan audiences were able to stomach long entertainments for the simple reason that they were in the open air. He’d followed Granville-Barker’s advice and did not drop the curtain, as is usual, at the end of the ” Rogue and peasant slave ” soliloquy. This, he said, turned out to be the only “daring”, original and exciting thing they did in the whole production, with immense results, and it escaped the critics’ notice!

Alec Guinness later wrote an article in the Spectator, explaining why he felt the play had been such a disappointment.

A Synopsis

The Costumes

All the costumes for the play were designed by the Spanish Spanish painter, drawer, enamelling master, sculptor, and stage designer, Mariano Andreu. John Gielgud saw his work and invited Andreu to create the costumes and settings for Much Ado About Nothing at Stratford-upon-Avon in 1949. The production was a great success and was toured and revived in Stratford and London. Andreu went on to design a number of productions in Britain during the 1950s, including All’s Well That Ends Well at Stratford, and Berlioz’s opera The Trojans at the Royal Opera House, Covent Garden.

(Left) Andreu’s original design of Peter’s costume -worn as the ‘Third Player’. The painting is part of the V&A’s Theatrical Collection.

REVIEW: As You Like It

  • Scene 1: Orchard of Oliver’s house.
  • Scene 2: Lawn before the Duke’s palace.
  • Scene 3: A room in the palace.
  • Scene 1: The Forest of Arden.
  • Scene 2: A room in the palace.
  • Scene 3: Before Oliver’s house.
  • Scene 4: The Forest of Arden.
  • Scene 5: The forest.
  • Scene 6: The forest.
  • Scene 7: The forest.
  • Scene 1: A room in the palace.
  • Scene 2: The forest.
  • Scene 3: The forest.
  • Scene 4: The forest.
  • Scene 5: Another part of the forest.
  • Scene 1: The forest.
  • Scene 2: The forest.
  • Scene 3: The forest.
  • Scene 1: The forest.
  • Scene 2: The forest.
  • Scene 3: The forest.
  • Scene 4: The forest.

Some Background

There was a major difference between this production of Shakespeare’s ‘As You Like it’ and the earlier BBC staging in1946, and that was the presence in the cast of major actors such as Margaret Leighton, Michael Hordern and Laurence Harvey. The program notes for the music are especially revealing in their scholarly concern to bring the authentic music from Shakespeare’s own day into the production. The BBC also used 125 feet of film to support the televised script. The cast included 24 principals plus extras, and the cost came to £2,343 – a considerable sum in 1953.

The entire 90 minute recording was sadly wiped by the BBC. However, the original typescript for this production still exists and is kept at The Birmingham Shakespeare Library.

Story Synopsis

One of Sylvius’ most notable attributes is his eloquence and proficiency in the language of love. Throughout the play, he delivers impassioned speeches and sonnets, pouring out his emotions and baring his soul. Sylvius’ poetic nature adds depth and beauty to his character, showcasing his ability to express himself with grace and sincerity.

However, his poetic declarations of love are often met with ridicule and mockery from other characters, particularly from the court jester, Touchstone. Despite this, Silvius remains undeterred, clinging to his ideals of love and devotion.

*In Shakespeare’s original play, Sylvius is spelt ‘Silvius’,

REVIEW: The Relapse (A.K.A. ‘Virtue in Danger’)

Some Background

‘The Relapse’ was written in 1696 by John Vanbrugh as a sequel to Colley Cibber’s comedy ‘Love’s Last Shift‘ (1696). Amanda, Loveless, and Lord Foppington (known as Sir Novelty Fashion in ‘Love’s Last Shift’) are the only characters to feature in both plays.

At the time ‘The Relapse’ was screened, there had been much discussion in the press concerning what is and what is not “obscene” on stage in the theatres, and moreover on TV. Naturally, views diverged. I was an age whenever the subject of sex was raised there were inevitably cries of “FILTH” from certain quarters followed, followed by indignant phone calls to the ‘papers and the BBC.

Media commentators believed that the broadcast of Vanburgh’s play would have a particularly hard time of it. As Phillip Hope-Wallace of The Listener was to put it, “Evidently the notion that anyone is free to inflict his own phobias on the public dies hard.”

There was speculation amongst drama critics that this BBC version of the play might be ‘tidied up’, as the original form of ‘The Relapse’ couldn’t be defined as family viewing. Some of the antics of Vanburgh’s characters barely skirted propriety. There certainly appeared to be much confused thinking on the subject.

On a general level ‘The Relapse, which had been so carefully prepared for the ‘Stage By Stage’ series of plays, was said to be superior to in style and spirit to the famous production at the end of war (with Cyril Richard as Lord Foppington), and was a true reproduction of the theatrical mode of its day, and a fully fashioned piece of television. As one critic stated, “The whole piece strikes a blow at hypocrisy and, if it didn’t put people off by being too long (2 hours), it may have sparked some interest in Vanburgh’s other works, if not in his architecture.”

Story Synopsis

In what the author seemingly intended to be an antidote to the play’s liberalism, the once amoral libertine, Worthy, has a sudden repentance and reformation, resulting in his becoming an admirer of female virtue. This change of heart, we’re told, has came about after Amanda resisted him to remain loyal to her husband.

A bit of Trivia

BROUGHT TO BOOK

Written by Alex Thorpe

Have you ever read a really good book which the vast majority of people concur with you over, but then you spot a really peevish review that has you wondering if the person responsible for it has read the same thing as you?

I bought Tina Wyngarde-Hopkins biography/memoir, ‘Peter Wyngarde: A Life Amongst Strangers‘ on the day of publication in February 2020. I read the whole thing; all 532 pages in just two sitting as I just found it too compelling to put down. With hand on heart I can say it is the best book of its kind I’ve ever read. It’s candid, detailed and honest; written from the standpoint of someone who actually knew Wyngarde intimately. Ms. Wyngarde-Hopkins has taken further steps in publishing many of the documents referred to in the book (see the A Life Amongst Strangers Companion) and provided strong supporting evidence in the form of Peter’s letters and personal writings (see You’ve Read The Book… Now Read It In Peter’s Own Words ). I know of no other author who has done this.

With this in mind, I’ve been stunned to read some of the nonsense posted online by persons unknown about the book in so-called ‘reviews’. I say this because none of the people who have written this stuff appear to have any real conviction in what they’re saying. Why? Because they choose not to put their real names to it,

I know what you’re all thinking: ‘Everyone is entitled to an opinion’, and you’re right. The Oxford English Dictionary’s definition of the noun ‘Opinion’ goes something like this: “A view or judgement formed about something, not necessarily based on fact or knowledge”. I ask you to keep the final section of that sentence in mind as you read the following ‘review’ for ‘A Life Amongst Strangers’ which was posted on Amazon on 27th December 2023 by someone calling his or her self ‘City Bookworm’:

I’ll take a wild stab in the dark here and say that dear old ‘City Bookworm’ probably never came within a 100 mile radius of PW or anyone who knew him, but is sufficiently conceited to shout down “the person who knew him best” (a description given to Tina Wyngarde-Hopkins by Flash Gordon himself, Sam J. Jones). We now seem to be living in a world where there are no longer facts, only opinions. What is being created is a wholesale denial of truth in almost every sphere of life. We suddenly find ourselves in a situation where people with absolutely no authority, personal experience or knowledge of a subject are attempting to beat down those that have. 

With very special thanks to Pam, Tina and Thomas of the Official Peter Wyngarde Appreciation Society

PETER WYNGARDE: MEMORIALISED IN PLASTIC

General Klytus action figures by Biff Bang Pow!

GENERAL KLYTUS BY BIFF BANG POW!

  • Name: General Klytus
  • Series: Flash Gordon
  • Subseries: Series 2
  • Manufacturer: Biff! Bang! Pow!
  • Year of Release: 2007
  • Height: 7 inches
Pictures13

  • Name: General Klytus
  • Series: Flash Gordon
  • Subseries: Series 2
  • Manufacturer: Biff! Bang! Pow!
  • Year of Release: 2008
  • Height: 7 inches

  • Series: Flash Gordon
  • Subseries: Pop! Vinyl Figures
  • Manufacturer: Funko (No. 311)
  • Year of Release: 2016
  • Height: 4 Inches

  • Name: Jason Wyngarde (AKA ‘Mastermind’)
  • Series: Marvel Legends
  • Subseries: The X Men
  • Manufacturer: Hasboro
  • Year of Release: 2015
  • Height: 6 inches

  • Name: Number 2
  • Series: The Prisoner
  • Subseries: Series 2
  • Manufacturer: Wandering Planet Toys
  • Year of Release: 2024
  • Height: