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“Unhappy lies the head that wears a crown”. The significance of the words of the Poet, so often thoughtlessly repeated, was brought vividily home to those of us who watched the care-worn Henry IV lament his guilty conscience, the unsettled state of his kingdom, and the apparent irresponsibility of his son. The Old Vic made full use of the pageantry and the colour which Shakespeare's history plays offer the producer. But “Henry IV Pt. I” has less action than “Henry IV, Pt. II”, or “Henry V”, and the long speeches, (paternal advice or descriptions of intestine broils), of exquisite beauty, and holding the attention of the trained listener, leave the younger, less appreciative mind restless for more action. And this is where a good Falstaff can compensate by engaging the attention of the less mature mind by his very personality. The Falstaff on this occasion, however, did not “let himself go” sufficiently. He was too restrained; he acted Falstaff instead of being Falstaff. Our party was not over-enthusiastic about this play.
Our second visit was to “Twelfth Night”. Here was a play of another sort, which was appreciated. I observed my party from time to time, and was pleased to see all who were close enough to me to be lost in the play, roaring with laughter at Malvolio and his yellow stockings, the duel between the two faint-hearts, Viola and Sir Andrew Aguecheek, and the devilish fun of Sir Toby “in his cups” (the same actor, incidentally, who had failed us in his Falstaff). I believe, also, that the pathos of the situation of Feste, the jester, and the several fine lyrical passages in this play were not entirely lost upon the schoolboy audience.
We hope soon to see “The Merchant of Venice”, a play which is being studied by the Fifth Form for the English Literature General Certificate Examination.
These visits are an important part of the life of the school. Old Boys have told me on more than one occasion that the love of Shakespeare's plays, fostered during school life, has become a very real interest in adult life.
P. G. CORNES
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