Download Redgrave Gala Programme

50 Years
of the Redgrave Theatre
A G A L A N IG H T C E L E BR AT I N G
SUNDAY 19TH MARCH 2017
PROGR AMME
CLIFTON
COLLEGE
ESTABLISHED 1862
Redgrave
Theatre
The
When it comes to drama, Clifton can be proud of its past and present
achievements. Many an OC has fond memories of treading the boards either in
a House play or a school production and we are, of course, particularly proud
of those who have gone on to enjoy highly distinguished careers in the
performing arts.
This evening is an opportunity to affirm the importance of the theatre by inviting
back those for whom the theatre has become such a huge part of their lives.
We are grateful to those for giving so generously of their time this evening and
we are also grateful to all our guests whose attendance is helping support the Trevor Howard
scholarship. The scholarship will be awarded for the first time in September 2018.
I very much hope that you all enjoy this evening.
Tim Greene
Head of College
Clifton has been on a journey for over 150 years. Against constantly shifting
backdrops, the school had to adapt but remain true to its founders’ vision; to be
an inclusive, successful and relevant institution and to provide children with a
springboard to succeed on their subsequent and varied journeys.
Typically remembered with affection and gratitude by our alumni, the school began
integrating girls with boys twenty five years ago. It has enjoyed a strong academic
renaissance in the last ten years, and music, drama and sporting successes have
continued to flourish. Yet it has strived not to lose sight of
its intention to cultivate the all-rounder and hard-worker. Despite the sweep of change, Clifton
has remained relevant, successful and is recognised for its ability to give children a great and
balanced start.
Swathes of Old Cliftonians maintain strong and loyal links to the school and reunions across the world
speak volumes for the goodwill that is felt. Parents of OCs also seem happy to engage with the school
and give the impression their financial sacrifices have been well made.
But sadly, one key item has changed. The explosion in school fees relative to incomes across the UK
over the last twenty years. This unwelcome trend has created barriers that used not to be so
pronounced. It seems plain wrong that for many professional, hard-working, middle-income families,
the opportunity to attend Clifton has become an unreachable goal. In this regard, Clifton is no different
from other academic establishments, yet in one respect it is. Namely that it has lagged behind in
developing its fund-raising capabilities.
Whilst good at engaging with its former pupils and their families, we have been reluctant, often
understandably, to ask our OC and parental communities if they might be able to help with creating
opportunities for the next generation.
The Cliftonian Society offers donors two principal routes by which they can give. The Clifton College
Endowment Fund provides support for pupils when their parents’ financial circumstances have changed
and they are unable to stay at the school. In addition, larger donations can create a named endowment
allowing the donor to request specific guidelines. The Clifton College Development Trust, established
more recently, seeks to enable children who might not otherwise have been able to come to the school,
to come. It uses the funds raised each year to maximise the number of such pupils.
Whichever route donors choose, the goal is simple: to help make it possible for more children to benefit
from the great fortune we shared, and to be a strong and positive force in shaping their futures.
Thank you for anything you feel able to contribute and we welcome the opportunity to sit down and
discuss fund-giving opportunities with you directly.
Simon Brewer
Chairman CCDT
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Tonight’s Programme
Joseph Cooper Music School – Champagne Reception:
Retrospective exhibition
6.15 p.m. Evening starts – guests arrive
6.30 p.m. Dr Tim Greene (Head Master) welcome
Jeremy Pickles (Director of Development) – introduces:
Bristol Old Vic Theatre School performance
Dan Robson (Director of Music) – introduces:
Charlotte Bresnahan
Anna Feather and Amelia Streatfeild-James
Reminiscences of the Redgrave Theatre
written by Tom Gover (read by Brian Worthington)
Jemma Redgrave
We are delighted to welcome Jemma to the
gala tonight, representing the Redgrave family.
Born in London, she is the daughter of the
actor Corin Redgrave and his first wife, Deirdre
Hamilton-Hill, a former fashion model.
She is the niece of actresses Vanessa
Redgrave and Lynn Redgrave and cousin of
Joely Richardson, Carlo Nero and Natasha
Richardson, and the granddaughter of Sir
Michael Redgrave.
Jemma Redgrave enrolled at the London
Academy of Music and Dramatic Art at the age
of 18.
Recent film work includes Love and Friendship
(based on Jane Austen's Lady Susan) in which
Jemma played Lady DeCourcy. Jemma’s other film credits include Lassie, I'll Be There,
The Acid House, Power And Lovers and Evie Wilcox in the Merchant Ivory production
Howards End.
Her theatre credits include Mrs Cheveley in An Ideal Husband at the Chichester Festival
Theatre, Donkeys' Years at the Rose Theatre Kingston, Farewell to the Theatre directed
by Roger Michell, The Afghanistan Plays both in the UK and on Broadway and as Varya
in Chekov’s The Cherry Orchard.
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TV credits include George Gently for the BBC, Churchill: 100 Days that Saved Britain,
Dracula alongside Jonathan Rhys Meyers, Law & Order UK, Unforgiven, Cold Blood for
ITV, and as Lady Bertram in Mansfield Park. Redgrave is perhaps best known for her
recurring guest role as Kate Stewart in Dr Who and as Surgeon Bernie Wolfe in
Holby City.
Redgrave Theatre:
7.40 p.m.
Jeremy Pickles – introduces:
Jemma Redgrave
Heads & Tails
Theatre Quiz
£10 per head to win a case of
Avery’s Clifton College
Champagne
Sam Hollis-Pack (Theatre Manager) – welcome to the Redgrave
Neil Constable – anecdotes and introduces:
Douglas Henderson
Brian Worthington
Magnus Gordon
Neil Constable – introduces:
Neal Foster
Neal Foster – anecdote and introduces:
Kosi Carter
Tony Cottrell
Emily Gould and Sorel Read
Clive Panto – anecdote and introduces:
Brian Worthington, Clive and Tomas Panto
Jonty O’Callaghan
Peter Taylor – new OC Drama Society and introduces:
James Hanson, Charlie Markham, Alex Mullan
Neil Constable – introduces:
Pascal Orzabal and Elizabeth Streatfeild-James
Joe Hargan (with the boys’ choir:
William Sharpe-Neal, Dan Stolworthy, Dallas Carter,
Anthony Moll, Angus Clarke)
James Goldsworthy and Peter Taylor
Adam Venus – anecdote and introduces:
Heather Henderson
Emma Johnsey-Smith and Anthony Moll
Angus Clark and William Sharpe-Neal
Dallas Carter and Georgie Dixon
Adam Venus
Head Master – to close
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Tonight’s Cast and Performers
W
e would like to say a huge thank you to all the OCs, former staff, and students at the Bristol
Old Vic Theatre School for joining us on this special occasion.
The current pupils in the School have, as always, risen to the occasion and not only given their time
to be involved, but also rehearsed with us to prepare for this evening.
Cliftonians enjoy challenges and putting something as big as this together in only one day of
rehearsals has certainly been one… That’s show business!
Charlotte Bresnahan
Charlotte enjoyed working in a large number of productions from Les Mis through to Miss Saigon and
was Lady Macbeth in one of Clifton's outdoor productions. She is enjoying university life and keeping
very busy and is really looking forward to returning to the Redgrave stage.
Anna Feather
Anna Feather is in her second year studying Music at the University of Sheffield, focusing particularly
on classical singing. Following on from her great enjoyment of the Chapel Choir while at Clifton, Anna
has devoted much of her extra-curricular time to singing in choirs, including a year of serving as an
alto choral scholar in a local parish church. After her role of Carlotta in The Phantom of the Opera in
2014, she has continued to explore opera performance. Most recently, Anna was awarded a
departmental scholarship for excellence in performance, which has afforded her many exciting
opportunities, including a masterclass with award-winning baritone Roderick Williams.
Amelia Streatfeild-James
Amelia is in her third year studying at Leeds College of Music Conservatoire. She is part of the threepiece country/pop band Fitzwallace who were nominated for a British Country Music Award in 2016.
As well as administrating the band, Amelia has also been a part of the Leeds College of Music
Contemporary Choir for three years, performing alongside Marc Almond on a number of occasions,
most notably at the Royal Festival Hall, London. In her second year she was also part of the Leeds
University Acapella group, the Cosmopolitans.
Neil Constable
Neil was appointed Chief Executive of Shakespeare’s Globe in October 2010 and wouldn’t be in the
position without the encouragement he received from Clifton staff, especially CJEJ, to try for a career
in the arts and from the experience being involved with the Redgrave and Pre School Hall. His
housemaster GVH persuaded his parents that he should be allowed to train in Stage Management &
Technical Theatre at Guildhall School of Music & Drama rather than go to university and since then
he has worked extensively in the theatre and arts industry for 32 years, latterly running cultural
organisations. He worked for the Royal Shakespeare Company for 16 years, holding senior
management positions of London Manager at the Barbican Centre and RSC General Administrator.
Prior to the Globe he was Executive Director and joint Chief Executive of the Almeida Theatre (2003
to 2010) working with Michael Attenborough, the Artistic Director.
Douglas Henderson
Douglas Henderson had an intimate relationship with the Redgrave almost since it opened until his
last production here five years ago. He acted in the first three Christmas (“staff and friends”)
productions – all Shakespeare - and a few others, latterly playing the Dame in three of Tony Cottrell’s
pantomimes. From 1970 to 1979 he ran the theatre with Christopher Jefferies, CJ doing the very
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considerable and quite revolutionary administration with his customary aplomb until he retired and
Douglas doing the technical stuff (we had no technicians). During that period he also ran the House
Drama Festival and taught a one-term course for its play directors which he did altogether for 34
years. Even in his 14 years as a housemaster, he continued to do the Christmas plays and lit most
major productions including those of the Pre, directed by Heather. In 1993 he was appointed Clifton’s
first Director of Drama, thereafter directing most school plays and running the House Drama. After
he retired in 2003 he continued to direct the Christmas productions. In all he directed and lit 28
productions in the Redgrave and lit well over 100 others.
He was a leading member of the Bristol Arts Centre, acting in several plays starting with Oberon in
1969, and directing several others, playwrights such as Stoppard, Strindberg, Pinter and Friel. As
vice-chairman of the Arts Centre, he was one of the founders of the Watershed complex.
Brian Worthington
Head of English, 1970–2000 and de facto of drama for half that period. Directed School Plays ranging
from A Flea in her Ear (Clive Panto in double leading role, Roger Michell and Simon Shepherd as
doctor and young lead) to Othello, The Seagull, The Critic and Inherit the Wind. Established the annual
Fourth Form Play competition and judged many a House Play competition. Acted at school,
Cambridge, Oxford and in the Redgrave in plays such as Troilus and Cressida, Richard III, Twelfth
Night, The Merchant of Venice, Oh What a Lovely War! and The Recruiting Officer. Promoted and
acted in the first joint staff/pupil production, The Long and the Short and the Tall (producer Tony
Cottrell) and directed the Easter staff production of Play by Beckett and Black Comedy by Peter
Shaffer.
Magnus Gordon
“For the last three years I have been at King's College London and have been involved with the King's
Players. In my first year I played Edmund in King Lear, voiced Captain Cat in a radio production of
Under Milk Wood, and played Roberto Miranda in Death and the Maiden. In my second year I played
the role of Tom in The Glass Menagerie and then played John Proctor in The Crucible. In my third year
I played Konstantin in The Seagull. I'm not doing anything this semester as I'm trying to focus on my
degree.”
Neal Foster
Neal is the Actor/Manager of the Birmingham Stage Company which celebrates its 25th Anniversary
in September. This year Neal is the writer and director of Horrible Histories at Warwick Castle,
Hampton Court Palace, the Garrick in the West End and tours to Hong Kong, Singapore and New
Zealand. 2017 also sees his world premiere tour of Gangsta Granny by David Walliams coming to
Bristol Hippodrome at the end of May and the West End in the summer. Neal will be appearing in a
special performance of HORRIBLE HISTORIES – BARMY BRITAIN at the Redgrave Theatre on 10th
June to help raise funds for the Trevor Howard Scholarship for Performing Arts.
Kosi Carter
“Since leaving Clifton, I have had many incredible opportunities to pursue my love of performing and
of theatre. I have directed, produced, acted, choreographed - basically tried my hand at everything
(with varying levels of success). Most recently, I directed And Then There Were None, by Agatha
Christie, and in June will be producing an original musical, Give my Love to Molly. Outside of university,
I have just finished a run as Celia Willbond, in Jessica Swale’s Blue Stockings, performed at York
Theatre Royal, and I will be directing Much Ado about Nothing, touring in Yorkshire in July. I will also
be heading to the Edinburgh Fringe this year with Not Cricket productions. My time at Clifton led me
to want to take risks and try new things, and this is most prominently exemplified by my first directing
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credit at university, which was Hamlet last year. With a female prince of Denmark, it felt only fitting
to perform a piece from the famous tragedy, with the twist that turned certainly some heads at York!”
Tony Cottrell
Tony Cottrell is a playwright, director, occasional actor and versifier. After reading Modern Languages
at Oxford, where he played JP MacMurphy in the British premiere of the play, One Flew Over the
Cuckoo's Nest (BEFORE Jack Nicholson in the film!), he helped found Major Road, a portable theatre
company, before teaching for 10 years at Clifton. He has been freelance for 30 years and written
and/or directed well over sixty new pieces for the theatre. Fresh Winds from the Willows, seen in 2016,
one of his favourites, is the last of five collaborations with the late Peter Skellern. He has been a parttime taxi-driver for Polruan for the past 10 years.
Emily Gould
It has been 4 years since Emily left the Redgrave's stage behind at Clifton. After joining in lower sixth,
the school was a great support and performing in the Redgrave was always the highlight of the year
for her. Emily performed in Evita and Phantom of the Opera here, and was honoured to be awarded
the Bluefin Dance Award. Now she is studying in her fourth year at Barts and the London School of
Medicine and Dentistry. Whilst studying to become a doctor, she is still dancing. Now teaching and
choreographing, this year she is the president of the university's dance society. She is so honoured
to be invited back tonight.
Sorel Read
“Since joining the school four years ago I have been heavily involved with both drama and dance, with
productions such as Guys and Dolls, Cabaret, and Miss Saigon being among my favourites, as well
as the outdoor Shakespeares. These productions encouraged me to do both Drama GCSE and A level,
and they have given me a love for performing that I intend to carry on after my time here is done.”
Clive Panto
PH 1968–1972. House plays: The Birthday Party by Harold Pinter, Narrow Road to the Deep North by
Edward Bond and Waiting for Godot by Samuel Beckett. School plays: Bartholomew Fair by Ben
Jonson and Flea in her Ear by Georges Feydeau. Trained at the Bristol Old Vic Theatre School, 20 year
professional career including West End and Repertory Theatre, Film, Television and Radio. Currently
delivering Effective Communication Training and Creative Thinking Workshops for a variety of
corporate clients.
Tomas Panto
“Year 5: The Rainmaker. I played a rastafarian bear who constantly forgot everything. A fun play
which was my first in the Redgrave and the one and only accent I have ever, and probably will ever
try to use. Great memories of my first production!
Year 8: Star Mites. I played space punk who rescued a damsel in distress. A very odd play but again,
brilliant fun led by captivating dance choreographers and directors. This production also had very
"original" costumes whereby we simply stuck DVD discs on our chests.
Year 9: Oliver! First production in the upper school. Great production and a very welcoming cast as
well. Even though in the chorus, we still felt like a part of it and we had a lot of fun.
And of course, I have done two house plays. House plays are brilliant as it's a great chance to interact
and get to know people in different years in your house.”
Jonty O’Callaghan
“I performed in the Redgrave all throughout my time at Clifton, from playing the illustrious role of
Bluebell the Cow in Butcombe's Jack and the Beanstalk, right up to my time in the Upper School
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where I was lucky enough to play Amos in Chicago, Fagin in Oliver! and most recently the Emcee
in Cabaret. It's safe to say performing in this space strengthened my love and passion for theatre,
and my happiest school memories nearly all have a connection with this place. I'll be performing
Mister Cellophane from Chicago, the first principal part I ever performed on this stage.”
Peter Taylor
Peter graduated from Liverpool Hope University in 2014 where he studied Drama. He then worked
and toured with Popinjay Productions' devised show The Flying Ship (2015) which also went to both
Brighton and Edinburgh Fringe. He graduated from MA Theatre Directing course at Mountview
Academy of Theatre Arts in 2016, where he worked on Bull, Measure for Measure and Jane Eyre
(touring). He previously directed with Some Riot Theatre Company on A Series of Unfortunate
Breakups at the Edinburgh Fringe 2016 and most recently Glitter Punch at the King's Head Theatre.
James Hanson
Having left Clifton in 2011, James studied politics at the University of Leeds before joining the BBC,
first with BBC Somerset, and now as a journalist and presenter with BBC Radio Bristol.
Charlie Markham
Charlie’s first venture into the world of drama started in Butcombe under the guidance of Mrs
Pickles where he achieved his first LAMDA qualification with distinction when reciting the poem
Paint on my Fingers. After this, he became involved in every production going from Alice in
Wonderland to Bugsy Malone. Then in the Upper School he continued his involvement in College
drama; in Fifth form he was cast as Fagin in Oliver Twist and in Lower sixth Charlie starred as the
Merchant in The Canterbury Tales. The finale of his Drama career at Clifton peaked when he played
Monsieur Thenardier in Les Mis. There was also a memorable performance of Basil Fawlty in the
last North Town house play. After Clifton, Charlie went on to study Theology and Philosophy at
Heythrop College in Kensington. After completing his degree, he joined the Metropolitan Police
Service as a Police Constable parading out of Peckham Police Station in the London Borough of
Southwark, where he continues to work as a Response Team Officer. Owing to the nature of this
role, Charlie has been unable to continue with his theatrical pursuits, until now!
Alex Mullan
Having left Clifton in 2011 and graduated from Oxford University in 2015, Alex now works as a
researcher at a business intelligence company in London. The Clifton drama scene found him
working as a stage hand for both school and house plays, though it was the house play spotlight
that saw him shine brightest. Alex co-directed, adapted, produced, cast, and unsurprisingly starred
in the title roles in Moberly’s productions of Blackadder and Frost/Nixon, with long-term partner in
crime James Hanson.
Not wishing to eclipse his prior successes, Alex has shunned the limelight since leaving Clifton,
preferring instead to spend his time on the Real Tennis court.
Pascal Orzabal
During Pascal's time in Clifton he performed in Romeo and Juliet and Phantom of the Opera as well
as being involved in the House Play festival for three years with North Town. After school he did a
foundation at Drama Centre London before studying for a spell at LIPA. He is now focusing on making
music.
Elizabeth Streatfeild-James
Liz is now in her second year of studying History at Durham University. On the music and drama
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front at Durham she has appeared in The Tempest and The Great Gatsby and has sung in the chorus
of the Durham Opera Ensemble production of Carmen. Liz captains a Hatfield College Netball team
and has taken up the new activity of playing water polo for Durham University this year. Last
summer Liz spent six weeks in India volunteering for a Charity that rescues elephants and bears
from circuses and misuse and she is booked to spend two months in China this summer teaching
English to children in one of China’s developing areas.
Joe Hargan
"Drama at Clifton played a huge role in my school life, teaching me valuable lessons, and creating
lasting friendships. In year 9 I was amazed by the performances in Les Mis, and that was the catalyst
for my acting passion. Mrs Pickles always supported me throughout and I can say with utmost
conviction that I wouldn't be the person I am today without her. Coming back to sing a number that
really tested me, and was probably the biggest challenge of my abilities, will be a nice change from
my usual shower time serenades."
Dan Stolworthy
Dan had been involved in Drama at Clifton since the Third Form and has enjoyed participating in a
number of productions but Guys and Dolls would probably come out top. Dan has shown talent for
dance and drama demonstrated in directing and performing in house dance and house drama and his
work for chapel week.
James Goldsworthy
After leaving Clifton, James moved to Stratford-Upon-Avon studying in the 'Year Out Drama' course
where he extended his love of performance to become a passion for all areas of the theatre. He went
on to co-found Popinjay Productions, a small theatre group that has toured the country with their
devised productions and performed with Ginny Davis Productions in Edinburgh and on tour. James is
currently a student of stage management at Bristol Old Vic Theatre School. Together with Peter Taylor
and James Hanson he is planning a revival of the OC Drama Society. The OC pantomime is scheduled
for January 2018.
Adam Venus
Adam attended Clifton from 1997-2000 and has fond memories of numerous performances over this
period. During his final A-Level year he gained an offer to study at LAMDA which he immediately took
up. Since graduating he has gone on to forge a successful stage career in a wide variety of
productions, echoing the varied programming offered to the students at Clifton of his generation.
These have included the work of Arthur Miller, Shakespeare, Sondheim, and Stoppard to name a few.
He is greatly indebted and grateful to the opportunities offered to him whilst at Clifton, and particularly
the staff who inspired him to follow his dream.
Heather Henderson
Heather Henderson began her long association with the Redgrave when she played in the first ‘staff
and friends’ production in 1969 – as Lady MacDuff – when eight months pregnant. She continued to
take leading roles in these annual productions, including Miss Adelaide in Guys and Dolls. She taught
at the Pre from 1977 and, with Heather Atkinson, later in collaboration with Julian Edgell or David
Pafford (and Jill Acheson in the latter years), started a series of two Pre productions every year until
she retired. The very first thing she did was to insist that productions should move from the Pre Hall
to the Redgrave. They were all musicals with casts of between sixty and a hundred children.
Emma Johnsey-Smith
“I've been singing and acting from a very young age. Currently I am working towards my diploma in
musical theatre and I've also achieved my grade 6 LAMDA. I am a member of the National Youth
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Theatre and I'm also represented by Imperium Management agency, London, for tv and film work and
Mad Dog casting agency, South West & Wales, for extra work. Through my time in Clifton I've featured
in numerous school productions, playing leads in Oliver!, Cabaret and the school's most recent
production of Guys and Dolls. I'm currently working on a few up and coming projects and in the
future hope to apply to Drama school.”
Anthony Moll
“I have been in school plays for 9 years now. To say it's been varied is an understatement; as a rat,
a ghost, and characters of not the easiest accents, along with a large range of ages, and styles. I've
also played in the pit in the Redgrave and performed in a huge variety of genres. Furthermore, I've
been involved in external productions with The Company and Bristol Old Vic.”
Angus Clark
“Excluding the house play festival, I have been involved in four productions during my time at Clifton
thus far. Third Form remains an exceedingly memorable year for me - being my first experience with
the drama department at Clifton and being awarded the opportunity to play the Artful Dodger in
Oliver! very much allowed my acting career at school to commence. Following Oliver! came two junior
productions in the form of Pygmalion and The Railway Children, both of which I enjoyed thoroughly,
however, the highlight of my time in theatre at Clifton has to be this year’s production of Guys and
Dolls. Taking on the role of Nicely Nicely Johnson was both a privilege and a delight. The script and
musical score for this particular character presented me with such a wonderful challenge and chance
and never have I been able to immerse myself in a role like I was able to with this comedic, hungry
gambler.”
William Sharpe-Neal
“I have thoroughly enjoyed my experiences on and off stage with the drama department at Clifton;
from drama GCSE, to playing Black Dog in the junior play, all the way to playing Benny in Guys and
Dolls in my last year. My favourite production to be a part of would be Miss Saigon as a musical in
Forth Form or Posh in house play.”
Dallas Carter
“I’m an Upper 6th Former at Clifton College, in East Town. I’ve been at the school since I was 5 and
have, since then, been involved in almost every production in the Redgrave possible. My first in the
Upper School was The Phantom of the Opera as a Chorus member in 2012, up until my most recent
and, sadly, final musical, Guys and Dolls, in 2016, in which I played Sky Masterson.”
Georgie Dixon
“I have always had a love for musical theatre and have been a part of several companies in order to
maintain this and develop my skills. I have recently been a part of Youth Music Theatre in a
performance of Fight like a Girl, as well as several other productions outside and within the school.
Due to my absolute love for all three of the disciplines, I have recently been auditioning for drama
schools and have been accepted into Mountview for Acting, Chichester, to study musical theatre and
acting for film, as well as the London College of Music for Voice in performance. I'm very excited for
my next step and to see where it will lead me in years to come.”
We hope you have a night to remember.
All proceeds from this evening will go towards the Trevor Howard Scholarship for
Performing Arts; the first recipient of which will be announced by the Head Master in 2018.
Further details can be found on inside back cover.
Your support is greatly appreciated.
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The Building of the House
W
riting in 1933, the drama historian, Frederick Boas,
noted wryly that Tudor schoolboys had one benefit
only just recovered by their successors: the 'fun and
excitement of acting in plays'. Boas was among the deprived,
having been at Clifton during the dark days of Percival and
Wilson, when drama was encountered only on the printed
page. This was common enough, for the clerical
establishment consistently associated the theatre with
depravity and idleness. Even that prelate of the
Enlightenment, Archbishop Wake, had denounced thespians
Stephen McWatters and Sir Michael Redgrave at
the theatre opening, 4 December 1966
as 'a parcel of wretched fellows, enemies to God and all
goodness.' And it must be conceded that there was some
basis for the sentiment. The knighting of Henry Irving in 1895 was instrumental in raising the status
of the acting profession. In that very year Clifton's first actors were heard, in scenes from Molière,
Sheridan and Aristophanes staged at Commem. The brief headmastership of A.A. David at the start
of the 20th century saw the first complete play, Pinero's Sweet Lavender. This was not, however, a
school play but a performance by masters, OCs and others in aid of the
College Mission. David's progressive enthusiasms embraced drama, though
he remained apprehensive that 'some boys who are born actors already,
may acquire prominence and repute too cheaply in this form of art'. It was
only after the Great War that Clifton drama properly began, with The
School for Scandal (1921). Even then only selected scenes were played,
and likewise for The Critic in following year.
An instant Clifton tradition had been established, though not everyone
was aware of it. A Dakyns' boy, asked by a friend if he would like to be in
the school play, replied doubtfully 'Is there a school play?' Though his
mother was an actress he had no thought of going on the stage himself;
but he agreed to meet the
producer, who duly cast him as
Second Niece. His name was
Michael Redgrave, and thus was
he launched towards stardom. At
Clifton he shone in female roles;
next year he was Lady Mary in
Redgrave as Absolute in
The Admirable Crichton, which Michael
The Rivals, Big School 1926
was also the first complete school
play. Redgrave won particular praise as Lady Macbeth (1925),
elegantly clad in one of his mother's frocks. For his final
Clifton performance he switched to his masculine side, as
Captain Absolute (The Rivals, 1926).
Trevor Howard, who followed Redgrave into Dakyns', was
not yet an actor; the Close was his preferred stage. He did,
Trevor Howard (back right) in a United House
however, appear in some House entertainments, and a
entertainment c1926; the only known
photograph of him in one such has just come to light. He also
photograph of him in any Clifton theatricals
Photograph © R.M.C. Leach
made a friendship which stimulated both his career and his
affection for his old school. Martin Hardcastle, then a junior
master, took Howard under his wing, winked at his transgressions, and introduced him to the heady
world of the Canterbury Chestnuts, troupers of the Cathedral Close.
Until 1936 all school plays were performed in Big School, still of course a single great space,
though one in which it was difficult to be heard or even seen. Redgrave himself recalled it as 'totally
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unsuited for the presentation of plays of any period'. With Androcles and the Lion (1937) productions
shifted to the recently built Pre Hall. Here at least was a permanent stage, though one which had to
be shared with other activities. During the evacuation to Bude the players used the vast art-deco
Picture House on the Headland, close to the hotels in which the school was billeted. Our only known
production photograph (School for Scandal, June 1944), features the future Lord Jenkin as Charles
Surface. Bude also saw the beginnings of the House Drama Competition. Alas the cinema has given
way to a supermarket, dispensing bread in place of circuses.
The school returned to Bristol in the summer of 1945, and the actors to the Pre stage with
Ambrose Applejohn's Adventure, a light comedy with an aptly Cornish theme. A more substantial
legacy from Bude was centralised catering, for which the American army of occupation had also
adapted Big School. There were strong economic (and for some, social) arguments in favour of
making this arrangement permanent. Big School was the only available site, though hardly more
suitable for this purpose than it was as a theatre. Much thought was therefore given to a new dining
hall, without discovering a place for it or the means to fund it. The creation of a real theatre would
be bound up with that larger and chimerical project.
After the House Master of Wiseman's, Harry Clissold, was killed in the Great War, a small piece
of land was bought in his memory: Clissold's Plot, opposite the old Wiseman's in Percival Road. It did
good service as a vegetable garden, but other uses were naturally considered, among them a small
theatre. Surprisingly it was Peter Brook, a House Master not generally associated with artistic
endeavour, who took the first step by obtaining planning permission for just that purpose.
Enter the leading man, pursued by
a mermaid. In 1959 John Hersee came
to Clifton to teach mathematics, but his
passion was drama, and his mission
was to give Clifton's actors a home of
their own. In the same year the
Mermaid Theatre opened beside the
Thames, its concave auditorium and
open stage heralding a revolution in
playhouse design. This gave shape to
Hersee's inspiration, and enhanced its
appeal, though neither the layout nor
the notion of a school theatre was
John Hersee (the projector)
wholly novel. Wellington had converted
a woodwork shop to this exclusive use twelve years before. Cheltenham followed a similar course by
turning Big Classical (their equivalent of Big School) into a permanent theatre/cinema. The first new
erection would appear to be the Bury Theatre at Hurstpierpoint, which opened in 1956. In various
ways these anticipated the Mermaid's raked seating, an arrangement obviously more suited to a
school than a complex of tiers and boxes. The theatre at The Leys was under construction the same
time as Clifton's, and opened a few months after it. Pretty soon everybody wanted one.
Hersee had originally proposed a 300-seat auditorium (half a Mermaid). This
was at the end of the summer term of 1962, a propitious moment as school
basked in the afterglow of Centenary Commem, and the economy was buoyant.
It was well timed in another sense. Nicholas Hammond was leaving, and his
successor, Stephen McWatters, would not arrive until January. The interregnum
would be overseen by Martin Hardcastle, known for his theatrical leanings.
Although no major decision could be expected from a locum tenens, his
encouragement would give the project momentum, offering the new Head
Master a bold venture with which to begin his reign.
Martin Hardcastle
Hersee's scheme was considered by the Finance Committee of the Council on
20 July, endorsed by a letter from four masters (unnamed, but doubtless
including the Head of English, Nigel Dodd). Although Clissold's Plot was accepted
13
as the potential site, this was held in trust for Wiseman's, whose House
Master would have to cede his rights. When the Committee and the full
Council next met in the autumn, Hersee presented plans and a model
devised by John Gilmour (BH 1949-54), a partner in the local firm of
Whicheloe and MacFarlane. An increase in capacity to 350 was achieved
by using benches rather than chairs in some rows (eventually it settled
at 344). The first estimate was a modest £20,000, of which almost a
quarter could be anticipated: some £4,500 due from the War Damage
Commission for Squash and Five Courts lost to the Luftwaffe in
December 1940. A simple exercise of creative accounting converted this
into the theatre fund.
Hardcastle endorsed the proposal, subject to the provision of
compensating benefits for Wiseman's. He was able to cite the successful
precedent of another school (presumably Hurstpierpoint), and was
John Gilmour (the architect), when encouraged by growing enthusiasm among his own staff. He also
Captain of Rowing 1954
advocated roping in the boys for excavation and construction. This of
course had the advantages of costing nothing and avoiding union trouble; it also reflected Hardcastle's
outward-bounding enthusiasm. The Council accepted the scheme, not least as it would allow the Pre
to recover exclusive use of its hall. The alternative idea of converting Big School was rejected, both
because of its inoperable acoustic, and because the new dining hall was still nowhere to be seen.
Early in 1963 a counter-move came from the Chairman of Council, Sir Sydney Barratt, who was
persuaded that technology could now resolve the acoustic problem in Big School. Barratt was a leading
advocate of the new dining hall, the vast expense of which would have impeded any other new
building. McWatters, coming from the civilities of Eton, had found poor catering and worse behaviour
in Big School, and he began by supporting the move to a new site. Property was bought with this in
mind, only to become a burden as the years of plenty came to an end. With the larger scheme
floundering, the theatre attracted more support, most significantly from the Head Master.
On 6 December McWatters presented a carefully structured paper to the Finance Committee,
setting out the case for the new theatre. Big School was simply the wrong shape; it would be too large
for many plays, yet not provide adequate green rooms. It would still be needed occasionally for exams
and other purposes. A concert stage would have to be maintained at the south end, where the Father
Willis organ stood, and that meant the seating could not be tiered. The resulting poor sight-lines might
result in patrons 'diverting themselves in other ways'. Overall this would be a 'poor compromise',
unworthy of Clifton's strong and continuing dramatic tradition. Addressing the objection that a separate
building would be empty more often than not, McWatters forecast use for lectures, drama classes and
other assemblies. The estimated cost of £20,000 was a 'mere fleabite' compared with that of the dining
hall; this was still the priority project, but it should not be allowed to stifle the smaller one.
The Head Master's case was accepted by the Finance Committee and then the full Council in the
spring of 1964. There could be no general touting for funds so soon after the Centenary Appeal had
solicited £140,000 for the dining hall. However, Hersee had found some potential backers for the
theatre project, including one who offered £5,000. The Finance Committee added this to the target
figure, confident that £25,000 'could be found from various sources without financial embarrassment
to the school'. Gilmour and his firm undertook to build an 'adequate' theatre for that sum. The War
Damage Commission eventually provided £4,300, and this was used as a credit rather than an
expansion of the budget. Wiseman's would be compensated for the loss of Clissold's Plot with a new
House Library.
Later in the year the builders managed to cut their estimate by £1,400. Against this the solicitors
warned of heavy costs to secure planning permission. Objections duly came from the owners of 60
and 62 Clifton Park Road. The former offered his property to the school for £5,850, which was
accepted with alacrity suggestive of collusion. The other owner tried the same tactic, but the premises
had no potential use to the school, and the solicitors advised correctly that the objection would not
be sustained.
14
With the planning permission duly granted, tenders were invited for construction, though by
this time costs had risen. On 15 July 1965 the Finance Committee awarded the contract to Henry
Willcock & Co, whose bid of £28,000 was the cheapest by £3,000. Various well-wishers chipped in:
G.R. Faulks (WaH 1918–21) provided aluminium windows at cost. For theatrically-disposed boys the
long gestation of the project was naturally frustrating. At the end of that summer term the retiring
secretary of the Drama Society, Laurence Brass (PH), signed off forlornly: 'if it ever gets built,
dramatic activity should be even more buoyant'.
Work began at last in September 1965, with completion expected by the following summer. No
overtime was allowed to the official workforce, which was heavily reinforced by the volunteers.
Although the nation was groaning under the Wilson terror, state regulation was less intrusive than
in our own more sensitive times. Something still remained of the antique notion that public schools
exist to turn boys into men as expeditiously as possible, and that exposure to the hazards of life
was a useful part of that process. So boys scampered up ladders and tinkered with cables without,
as far as is recorded, breaking their necks or welding themselves to the national grid. For the
committed this was gratifying work; some conceivably enjoyed a Marie-Antoinettist frolic, while
others found a God-given excuse for legalized skiving. In their various ways they all had a good
time.
The restricted site involved some abbreviations. The green rooms were modest (the workshop
doubling as the ladies' dressing room), and the lighting box miniscule. For the stark staging of the
1960s a fly-tower would have seemed an unnecessary luxury. There is virtually no foyer, because
a school theatre cannot greatly boost its revenue by pumping the patrons with gin and tonic. Quite
rightly Gilmour used his space for what matters most. The stage was a generous 37 ft at the
proscenium, and almost as deep. The gentle sweep of the seating gave unimpaired sightlines from
all angles, and the acoustic would satisfy all but the chronically deaf.
Despite all this effort the work ran on into the Michaelmas Term of
1966. Additional fire-proofing required by the Building Inspector had
caused delays and added to the expense. The main contractors were still
at work in late September, as were the volunteer electricians led by
Michael Vokins. Work on the site must have been continuing when Hersee
began rehearsals for the opening production.
Hersee was Out Tutor
of North Town, which had
developed a distinctive
dramatic tradition of its
own. To inaugurate the
Michael Vokins (the electrician) theatre he chose Love's
Labour's Lost, a work
never seen at Clifton before or since. The Cliftonian
reviewer was not overly impressed by the play or the
leading performances, but was pleased that the seats
were comfortable and did not squeak, and that the
curtains rose smoothly. The costumes designed by
Love's Labour's Lost: the first production
Mrs Hersee were not merely attractive, but helpfully
colour-coded. The set (of which a glimpse can be seen in the one surviving photograph) was also
admired. This was the work of Sean Cavanagh (SH), heading for a distinguished career in the
business; in addition he played Boyet with 'elaborate elegance'. The inaugural production also
featured the theatre's future master, Tony Cottrell (ST), as the somnolent Constable Dull.
The play ran for four nights between 29 November and 3 December. On the following day the
theatre was officially opened by Sir Michael Redgrave. He was originally invited to give some
readings, to be followed by music from the boys. Redgrave understandably refused to be the warmup act for a school concert, and so the Head Master quickly reconfigured the evening into a solo
performance. Redgrave read from Shakespeare, Coleridge and Robert Graves, and from the
15
translations of Hans Christian Andersen by his old House Master Richard Keigwin. Or rather he began
reading, and then moved away from the lectern and shifted imperceptibly from reader into actor.
So the theatre went into action, operated during its first years by its begetter. Hersee was by all
accounts a difficult colleague, and an over-possessive custodian of the stage he had created. In 1971
he was relieved of that responsibility, and thereafter concentrated on the maths curriculum at Clifton
and nationwide. His name is remembered in a collection of mathematical MSS donated to Leicester
University. At Clifton he has another memorial of his own making: the octagonal table in Chapel which
provides an 'altar' for eucharist-in-the-round.
Although the building began life as simply the Clifton College Theatre, some felt from the start
that it should be called after Redgrave. Other considerations impinged when commercial use was
projected. This had not been envisaged by the first promoters. When construction was under way the
Bursar and Second Master were made jointly responsible for hiring the theatre to outsiders at realistic
rates. In fact this rarely occurred until the closure of the Colston Hall's Little Theatre deprived many
local companies of their regular venue. Then Christopher Jefferies and Douglas Henderson, who had
taken over from Hersee, saw much advantage in offering Clifton's boards to these refugees and
others, and a prestigious name would be more likely to attract business. However a Redgrave Theatre
already existed at Farnham, in the foundation of which Sir Michael had taken an active part, and it
was thought this might impede Clifton's use of the name. By the time Redgrave was asked for his
consent he was already in decline, and no reply was received. It was left to the family to give
permission, seemingly after Sir Michael's death in March 1985. The courtesies were nevertheless
anticipated, because 'Redgrave Theatre' appears in the Junior and School play programmes of 1984.
With the recent closure of Farnham, it is now the sole bearer of the name.
Text: C.S. Knighton, who is indebted to Messrs S.M. Andrews, A.G. Cottrell, G.V. Hardyman, D.C. Henderson and B.
Worthington for their recollections, and to fellow members of the School Archivists Group for information about
theatres in their several schools. The opinions expressed, and the factual errors, are the writer's own.
Booklet produced to mark the opening
16
Programme for Love’s Labour’s Lost
Horrible Histories - Barmy Britain
10th June 2017
W
e all want to meet people from history. The
trouble is everyone is dead!
So it’s time to prepare yourselves for Horrible Histories
live on stage featuring all your favourite characters
from Britain’s barmy past!
Could you beat battling Boudicca? Will King John be
a martyr for the Magna Carta? Will you lose your heart
or your head to Henry VIII? Can Parliament survive
gunpowder Guy? Light up your life with the great fire
of London! Stand and deliver to dastardly Dick Turpin?
Escape the clutches of Burke and Hare and move to
the groove with party Queen Victoria!
It’s the history of Britain with the nasty bits left in!
Straight from the West End this award winning production will
be performed by Neal Foster (OC) with all proceeds going
towards the Trevor Howard Scholarship for the Performing
Arts. We are indebted to Neal for his support in bringing this
show to the Redgrave on the 10th June 17 for a matinee and
evening performance.
Some tickets are still available so book now to avoid
disappointment.
Horrible Histories brings the bloody
story of Britain throbbingly alive in
this hilarious show from the excellent
Birmingham Stage Company. Bloody,
marvellous stuff!
The Daily Express
Is this any way for children to learn
about history? Too right it is! If lessons
were always like this, kids would be
queuing up at the school gates every
morning.
The Times
This funnily uproarious, occasionally
flatulent, actually quite feminist and
surprisingly informative romp through
the madder, badder moments of
British history is perfect!
The Sunday Times
Barmy Britain is a brilliantly fun piece
of educational theatre that taught this
history graduate a few new things and
kept my son enthralled. History
teachers of Great Britain, it’s time to
up your game.
The Daily Telegraph
As gleefully vulgar as a Roman poo
stick! It's perfectly horrid and my
daughter loved it!
The Daily Mail
Anarchic, cheeky, illuminating fun - a
little fact-packed gem. The actors are
a hoot, funny and sharp, delivering the
one-liners with excellent timing.
Here’s a show that has brains (with the
winning mix of fart-jokes) aplenty!
Time Out
17
CL I F TON
COLLEGE
ESTABLISHED 1862
GLOBE EDUCATION AT CLIFTON COLLEGE
Courses for Teachers
Globe Education and Clifton College are delighted to be working together to offer
professional development opportunities to teachers in the west of England and
south Wales.
Globe Education has established a national and worldwide reputation for
delivering high quality training for teachers which offers them creative and
practical approaches for teaching Shakespeare. Our consultants are experienced
actors and directors who have acted on the Globe stage, so they understand the
challenges the plays present for 21st century audiences. Special discounts for
schools who book for whole department training.
The training will be supported by resources.
For more information or to book:
shakespearesglobe.com/clifton emma.j@shakespearesglobe.com
Telephone: 020 7902 1463
‘Very helpful in suggesting new ways to approach Shakespeare
(or indeed any new text) with students.’
Globe Education CPD participant, Clifton College
18
“
Emma Johnsey-Smith (WoH), Hancorn Scholar:
The support that the School, in particular
Mr and Mrs Pickles, have given me is indescribable.
Clifton has helped me to realise my own potential
and the confidence to pursue my dreams. I will
be forever grateful for the opportunities I have
been given; they have made me the performer I
am today and have helped me to succeed beyond
the doors of the Redgrave Theatre.
Achieving a place in the National Youth
Theatre, one of my most valued triumphs
so far, must be accredited to the help
given by the School.
Whatever my future brings in the acting
industry, I will always be thankful to the
School for teaching me the value of
hard work, and pushing me to be the
best possible actress that I can be.
Member of the National Youth Theatre
”
In the role of Adelaide, Guys and Dolls 2016
INVESTING IN THE
FUTURE OF CLIFTON
Our ambition is to give as many young people as
possible the opportunities to develop their talents and fulfill
their potential.
All proceeds from tonight will go towards the:
Trevor Howard
Scholarship for
Performing Arts
Call on:
+44 (0)117 315 7662
Email:
jpickles@cliftoncollege.com
Donate online via:
cliftoncollege.com/galanight
To make a donation, please contact:
Jeremy Pickles
Director of Development at
Clifton College
Trevor Howard (DH 32)
The Scholarship will be awarded for
the first time in 2018.
Registered charity no. 1140132
19
CLIFTON
COLLEGE
ESTABLISHED 1862
Redgrave
Theatre
The
Redgrave Theatre
Percival Road, Clifton, Bristol BS8 3LE
General Enquiries
0117 3157 602 (9.30am and 5.00pm)
info@redgravetheatre.com