A CONSIDERABLE TIME has elapsed since Bertolt Brecht's "The Caucasian Chalk Circle" was staged by the School and I have now been asked to write a piece on it. I make no apologies for avoiding the tasks a dramatic critic might normally set himself.
What may a visitor to a school play expect? From the recent history of school plays he may expect a high standard of set and costumes, and in this production Peter Toy and David Batehup with their many helpers from both inside and outside the School surpassed themselves. The single set took on many different aspects with the well-conceived lighting plan in the capable hands of John Davey and his team. Richard Hames's music, written specially for the play, and his musicians were also most effective. John Meardon, the first boy to take on the task of Stage Manager, also played a notable role in the play's success. An even and high standard of acting can hardly be achieved by such a large cast (but what a good choice of play for giving as many as possible stage experience!), but outstanding performances were given by Peter Waight as Azdak, Martin Herbert as The Singer and Bridget Phillips as Grusha.
There may be those who worry about Brecht's theatrical
theories and his Marxist message. Peter Taylor does not. He sets
out, I feel, with a threefold intention: To have his players
enjoy themselves, to teach them some stagecraft, and, above all,
to entertain his public. It is clear that he succeeds in all
three. I found it an exhilarating and exciting evening and would
echo The Singer's words :--
"And after his evening Azdak disappeared and was never seen
again. But the people of Grusima did not forget him and often
remembered his time of Judgement as a brief Golden Age that was
almost just."
M. J.N.