The Winslow Boy - Spring 2011

The Winslow Boy by Terrence Rattigan was written in 1946 and is set over a two-year period from 1912 (the year that the Titanic sank) to 1914 (just before WW1). It is based upon a true story which actually happened a couple of years before this. The play was later made into a famous film, starring Robert Donat as Sir Robert Morton KC, Sir Cedric Hardwicke as Arthur Winslow, and Margaret Leighton as Catherine Winslow. Another film version was made in 1999, directed by David Mamet, and starring Nigel Hawthorne and Jeremy Northam as Arthur Winslow and Morton respectively, and Rebecca Pidgeon as Catherine. (You can watch a 10-minute extract of this version at www.youtube.com/watch?v=zRQbflNb1M4) The play has also been adapted for television, including a 1990 version starring Gordon Jackson as Arthur Winslow, Ian Richardson as Morton and Emma Thompson as Catherine.
More recently (2009) it was revived at The Rose Theatre, Guilford, starring Timothy West amongst others. Michael Billington’s review of this production is included in these notes.

Background
Set against the strict codes of conduct and manners of the age, The Winslow Boy is based on a father's fight to clear his son's name after the boy is expelled from Osborne Naval College for stealing a five-shilling postal order. The play was inspired by an actual event, which set a legal precedent: the case George Archer-Shee, a cadet at Osborne in 1908, who was accused of stealing a postal order from a fellow cadet. The most respected barrister of the day, Sir Edward Carson was persuaded of his innocence by the family, and insisted on the case coming to court. On the fourth day of the trial, the Solicitor General accepted that Archer-Shee was innocent, and ultimately the family was paid compensation.
In this dramatised version, however, the cost of the “success” is immense both financially and in many other ways. Was it worth it? The audience is left to decide.

Plot Ronnie Winslow, a thirteen-year-old cadet at the Royal Naval College, is accused of the theft of a five-shilling postal order. An internal enquiry, conducted without notice to his family and without benefit of representation, finds him guilty, and his father, Arthur Winslow, is "requested to withdraw" his son from the college (the formula of the day for expulsion). Winslow believes Ronnie's claim of innocence and, with the help of his suffragette daughter Catherine and his friend and family solicitor Desmond Curry, launches a concerted effort to clear Ronnie's name. This is no small matter, as under British law, Admiralty decisions are official acts of the government, which cannot be sued without its consent—traditionally expressed by the Attorney General responding to a petition of right with the formula "Let right be done". The Winslows succeed in engaging the most highly sought after barrister in England at the time, Sir Robert Morton, known also to be a shrewd opposition Member of Parliament. Catherine had expected Sir Robert to decline the case, or at best to treat it as a political football; instead, he is coolly matter-of-fact about having been persuaded of Ronnie's innocence by his responses to questioning (in fact, a form of cross-examination, to see how young Ronnie would hold up in court) in the presence of his family. Catherine remains unconvinced of Sir Robert's sincerity, perhaps not least because of his record of opposition to the cause of women's suffrage, but also due to his dispassionate manner in the midst of the Winslow family's financial sacrifices.
The government is strongly disinclined to allow the case to proceed, claiming that it is a distraction from pressing Admiralty business; but in the face of public sympathy garnered through Winslow and Catherine's efforts, and of Sir Robert's impassioned speech on the verge of defeat in the Commons, the government yields, and the case is allowed to come to court. At trial, Sir Robert (working together with Desmond Curry and his firm) is able to discredit much of the supposed evidence. The Admiralty, certainly embarrassed and presumably no longer confident of Ronnie's guilt, abruptly withdraws all charges against him, proclaiming him entirely innocent.

Although the family has won the case at law and lifted the cloud over Ronnie, it has taken its toll on the rest. His father's physical health has deteriorated under the strain, as to some degree has the happiness of the Winslows' home. The costs of the suit and the publicity campaign have eaten up his older brother Dickie's Oxford tuition, and hence his chance at a career in the Civil Service, as well as Catherine's marriage settlement. Her fiancé John Watherstone has broken off the engagement in the face of opposition from his father (an Army Colonel), forcing her to consider a sincere and well-intentioned offer of marriage from Desmond, whom she does not love. Sir Robert has also declined appointment as Lord Chief Justice, rather than drop the case. However, the play ends with a suggestion that romance may yet blossom between Sir Robert and Catherine, who acknowledges that she has misjudged him all along.

Michael Billington’s review (The Rose, Kingston, 2009)
Terence Rattigan was a famous victim of the Royal Court revolution. But his best work, as Stephen Unwin's production of this 1946 play triumphantly proves, lives on through its mixture of traditional form and progressive ideals. It was very moving to hear an audience, in these supposedly cynical times, cheering on a play about the pursuit of justice.
You can gauge Rattigan's skill from the crucial changes he made to the case that inspired his play. George Archer-Shee was a naval cadet expelled from college for allegedly having stolen a postal order. The 14-year-old Ronnie Winslow is in exactly the same position; and, believing in his innocence, his father hires a distinguished lawyer, Sir Robert Morton, to bring the case to the Commons and challenge the Admiralty's right to block legal proceedings. In real life, Archer-Shee's MP brother and Sir Edward Carson prosecuted the case for purely political reasons. In the play, both Ronnie's father and Morton are driven, at great cost to themselves, by a passionate belief in abstract principles. It is that change of motive that gives the play classic status.
What is also fascinating is how much information Rattigan manages to pack in. He gives us a state-of-the-nation play about the battle between the individual conscience and an entrenched establishment. Setting the action just before the 1914-18 war, he shows middle-class society on the eve of disintegration.
Above all, Rattigan pursues his obsessive theme of the inequality of passion. The pivotal figure, in this respect, is Ronnie's suffragette sister, Catherine. Though she ultimately sacrifices her fiancé to the family cause, she loves him far more than he does her; and Catherine, in turn, is doted on by an ex-cricketer haunted by memories of past glory. Whatever justice there may be in the world, Rattigan suggests, there is none in matters of the heart.
Unwin's production gets all this across and is acted with superlative finesse. The showcase role is that of Sir Robert Morton, whom Adrian Lukis invests with just the right mix of supercilious languor and inner radicalism, implying the role might almost be a portrait of Rattigan. Timothy West admirably shows that Arthur Winslow's caustic wit and patriarchal sternness conceal an implacable determination that right be done. And there is fine support from Claire Cox as Ronnie's militant sister, Diane Fletcher as his protective mother and Roger May as the discarded cricketer. But what the evening buoyantly confirms is that Rattigan, while always claimed by the right wing of British theatre, was instinctively a man of the left.


The characters
The Winslow family is a middle / upper middle class family living in a large house in South Kensington.
Ronnie Winslow (The Winslow Boy)
Ronnie is nearly 14 as the play opens (and almost 16 at its close). He is (or rather was!) a student at Osborne Naval (Boarding) School. Although a very confident young man, we do sometimes see the “little boy”, especially at the beginning.
Arthur Winslow (his father)
Arthur is a man of about 60, “ with a rather deliberately cultured patriarchal air”. Totally persuaded by his son’s innocence, he becomes almost obsessed with the task of publicly proving this.
Grace Winslow (his mother)
Grace is about 50, and “has the faded remnants of prettiness”. Whilst no less certain of her son’s innocence, she is, well certainly becomes, less sure than her husband and daughter that the cost of proving this to the world is worth the effect it is having on the family.
Catherine Winslow (his sister)
Catherine is approaching 30 and “has an air of masculinity about her which is at odd variance with her mother’s intense femininity”. However, the femininity should not be completely hidden, she has two suitors in the play, and at the end, there is a definite implication that she and Sir Robert Morton may well develop a relationship - there is certainly a certain je ne sais pas between them. She is a suffragette and is the driving force in bringing the case to court - especially as Arthur’s health begins to deteriorate. Arguably the central role in the play.
Dickie Winslow (his brother)
Dickie is an undergraduate at Oxford, and should be around 19. He is described as “large, noisy & cheerful”, although the “large” element is not particularly important. He is what we think of as typical middle class young man of that time - selfish, preferring music & dancing to studying & work and is oblivious as to where the money comes from to pay for his education and general life-style. In spite of all this, he does remain a likeable character
Violet (the maid)
Violet is described as ”elderly”. She doesn’t have to be very old, but she has been with the family for very many years and has a close relationship with Ronnie. Also, as part of the cost-cutting which becomes necessary Arthur & Grace discuss firing her - but are loath to do so as they fear she would not get another post at her age. This is no walk-on role, she is an important character.
John Watherstone (Catherine’s fiancé)
John is a man of about 30 and is a subaltern in the army. His army income is supported by an allowance from his relatively well-off father. It is said that Catherine loves him far more than he loves her. This love becomes very severely tested as the play progresses.
Desmond Curry (the family solicitor)
Desmond is a man of about 45, “with the figure of an athlete gone to seed. He has a mildly furtive manner”. A bit boring, but very much in love with Catherine; a love which is not reciprocated.
Sir Robert Morton (barrister and M.P.)
Sir Robert is in his early 40s and is “tall, thin, cadaverous and immensely elegant”. The elegant quality being more important than the cadaverousness! This is a guy who mixes with the very top of society, even royalty. He is an ambitious politician and the country’s leading (& horrendously expensive) barrister.
Miss Barnes (a journalist)
“A rather untidily dressed woman of about 40 with a gushing manner”. A small part - only a few pages.
Fred (a photographer)
A “listless” chap of indeterminate age. Only has about 3 lines - plus takes a photo

The Lion in Winter - James Goldman

Henry II Wayne Ross

Alais Amanda Goggins

John James Atterwill

Geoffrey Simon Alaluf

Richard M artin Vine

Eleanor Cathy Nicholls
Philip to be confirmed

The search for a King Philip of France will resume when the schools return in September. Great to welcome back to the stage Amanda and Cathy, and welcome Martin and James for the first time.

Stage manger Phil

Assi stant stage manager Kate

Set TBC (Chris/Alan???)

Lights Paul*

Sound Pete*

Props Sue

Make up/hair Jan

Costumes Jenny*

Prompt Mike

Production manager TBC

Programme Mike

Publicity John

Graphic design TBC

Box office TBC

Catering Clare*

Bar & nbsp; Charlie*

Front of house Mary*

Night must Fall

http://www.escape-suspense.com/2008/03/suspense---nigh.html

October 2009 production ideas

- Night Must Fall by Emlyn Williams, a thriller suggested by Adrian
- The Art of Course Acting by Michael Green, suggested by Sue
- Dad's Army, suggested by Wayne (if it arrives in time)


The Lion in Winter by James Goldman (you may have seen the film with Peter O'Toole & Katharine Hepburn).
Gill is keen to direct, so this is a likely contender for the October production.

Cold Comfort Farm

need speakers in 4 corners of hall to allowing for panning

Pg FX Description
1 FX01 distant thunder
FX01 whining wind
FX01 doors bang windows rattle
FX02 crack of thunder (loud)
FX03 thunder
FX04 1st bi plane overhead
FX05 1st bi plane landing

2 FX06 thunder

3 FX07 thunder
FX08 thunder

4 FX09 thunder

7 FX10 chiming clock (speak to geoff)

8 FX11 clock expodes (disney clock cleaners)

9 FX12 wind thunder

10 FX13 water splash
FX14 thunder fading

12 FX15 cow - pained mooing

13 FX16 wind

22 FX17 screech by Urk (actor?)
FX18 thud

25 FX19 splash

26 FX20 whisltling kettle

28 FX21 splash
FX22 clock chimes 4 times (slowly?)

30 FX23 thud
FX24 thud
FX25 clock explodes

31 FX26 clock starts to chime midnight (dolefully?)
FX27 clock chimes 12
FX28 eerie wind
FX29 clock ticks deep and slow

32 FX30 wind
FX31 doors rattle
FX32 windows bang
FX33 tortured sqeaking creak
FX34 splintered rendering ?

34 FX35 wind
FX36 clock explodes y

36 FX37 clock explodes y
FX38 spring eg lambs sheep birds twitter

40 FX39 clock explodes y

41 FX40 piano hymn music ?

42 FX41 tricycle bell

ACT 2

47 FX42 gentle waltz music

49 FX43 dance music

54 FX44 more dance music

60 FX45 gust of wind

64 FX46 gust of wind

74 FX47 new clock ticking
FX48 clock explodes

79 FX49 euphoric chord from organ
FX50 wedding march

80 FX51 church bells

83 FX52 2nd plane landing

84 FX53 2nd plane overhead
FX54 car starting and moving off

86 FX55 clock ticking (pleasant, slow)
FX56 far off cow bells - fading y

87 FX57 clock chimes 7 y
FX58 1st bi plane overhead, land and taxis

88 FX59 1st bi plane starts taxis overhead fades
FX60 clock ticking
FX61 folk song

Veronica's Room

Shuffle off to Buffalo - 42nd street - 1930s

Seasons Greetings - FX ideas

Uncle Harvey, a retired security guard, watches a succession of violent action movies on TV.
Could run these on a second amp varying the volume on the TV, one of phils small speakers near the TV.

After sex under the tree an electric toy goes off, need to record this

Children talking, squabbling need to record this ?

Could get the tree from nursery up the road, what size, advert in program

Season's Greetings - Analysis

Season's Greetings skilfully deals, in an often comic way, with all kinds of prejudices: class, wealth, artistic snobbery, male chauvinism, ageism, homophobia. The characters are emotionally 'coloured-in': Rachel, sensible in the extreme, endlessly over-analysing her emotions, yet occasionally hysterical; Eddie, attempting, but giving up, tenderness with Patti. As a guest, Clive endlessly suffers the mad family. The play's slow, imperceptible build in drunkenness and madness is impressive.
The play shares much with Mike Leigh's 'Abigail's Party' (BBC, 1977), particularly its mix of the humorous and the awful. Like 'Abigail's Party' you never see the children.
Is Season's Greetings 'just' comic, or more serious? Like Eddie, we believe, perhaps because we want to, that Neville has offered him the managership of his new branch - this turns out not to be the case. Time after time we find ourselves involved in the drama, taking it very seriously, only for the scene to end with a wicked comic punch line. Phyllis crying with pity for Bernard is very moving, while Bernard's blistering attack on Harvey - "all that they can really say about you is that you're a snob, a bigot, a racist, a chauvinist..." - almost deserves applause. But in a moment of high farce at the end the G.P., Bernard, a man riven with lack of self-worth, solemnly examines the shot Clive, pronouncing him dead. Clive promptly wakes up.
The dysfunctional family can cope with anything. When Neville takes the gun from Harvey, he is asked if Clive will be alright. "Oh yeah," he replies, "he'll be alright; he's got Rachel" - Rachel being the one sensible member of the family. Examining an electronic toy that one of the bullets has passed through he says, "It's alright, it missed the motor".

Season's Greetings Synopsis

Christmas Eve. The adults drift about the house, making first inroads into the drink. Uncle Harvey, a retired security guard, watches a succession of violent action movies on TV, rooted to a large armchair. Bernard, near-retirement General Practitioner, fusses about, talking about the puppet show that he performs for the children every Christmas. The rest of the family groan at the mention of it.
The heavily pregnant Patti, Eddie's wife, joins Harvey in front of the TV. Eddie and Neville are long-term friends; Eddie once worked for Neville in his electronics retailing business; Eddie has since tried, less successfully, to go it alone.
Neville's wife Belinda and Patti try to get their kids to go to sleep. There is tension between them and Neville and Eddie, who do little except plan their next escape to the pub. Belinda's single, sister Rachel turns her nose up at the Christmas TV that briefly unites most of the family. A male guest of hers, Clive, a writer, arrives late, while Rachel has gone to look for him at the railway station. An instant mutual attraction forms between him and Belinda. Meanwhile Phyllis, Bernard's wife (they are childless), is drunk, trying to cook the Christmas Eve dinner.
Christmas Day. The couples argue increasingly. Bernard is crashingly inappropriate as he endlessly unloads his puppet show. Harvey shows the bemused guest Clive a foot long dagger that he has strapped to his leg and informs him that he has a gun. Belinda flirts with Clive; Rachel is jealous. Tension mounts as Harvey is increasingly rude about Bernard's puppet show and about his competence as a GP. Neville offers Eddie a job at his new branch and they escape to the pub. Patti is upset about how "useless" Eddie is. Belinda comforts her.
Christmas Night. Eddie is blind drunk, snoring. Rachel watches, fascinated and repelled as Patti matter-of-factly tries to bring him round. Neville fiddles with electronic toys and gadgets, oblivious to Belinda's conversation as she tries to talk to him about love and friendship. When everyone has gone to bed, Clive and Belinda try to have sex under the Christmas tree. Setting off an electric toy they wake up the whole family who discover them.
Boxing Day. With the help of Patti and Harvey, and with Phyllis as the only audience, Bernard attempts a dry run of his puppet show before the kids come back from a walk. He is tense and irritable, and shouts at Patti, who goes off crying. Harvey becomes angry and damages the puppets and kicks down the sets. Phyllis cries.
Early morning the next day. Clive leaves the house for the early train home. Rachel gives him her balaclava against the cold. Wearing the balaclava he goes back into the house to pick something up. Seeing him, Uncle Harvey, who is convinced Clive is a criminal and has stayed in the living room with his gun all night, shoots him.

Season's Greetings

Set build Oct 19th
Strike Oct 28th
The Show 25 26 27
http://www.alanayckbourn.net/
http://www.screenonline.org.uk/tv/id/443066/index.html