Highlights from a proud 134-year theatrical tradition
December 1–3 will see the triumphant return of the Rydal Penrhos Dramatic Society with an exciting new production of Matilda the Musical, Junior, a stage adaptation of Roald Dahl’s 1988 children’s novel by Dennis Kelly. The play centers on the titular five-year-old character as she navigates her hostile school and family life with the help of a kind-hearted teacher, some supernatural abilities and a love of reading.
Under the direction of our Head of Drama, Mrs Rachel Jones, rehearsals are well underway and anticipation is building ahead of what promises to be an exceptional display of talent, dedication and enthusiasm by our gifted Rydal Penrhos thespians. To book your tickets, please visit the following Eventbrite link: https://www.eventbrite.co.uk/e/rydal-penrhos-school-present-matilda-the-musical-jr-tickets-191048510237?aff=ebdssbdestsearch. Please note our Covid guidelines for the event as detailed in the ‘About this event’ section.
Matilda will be Rydal Penrhos’ first major production since 2019’s Les Misérables, the widely-acclaimed swansong of director Mrs Leah Crimes. Important figures in the history of Rydal Penrhos drama, including Mrs Crimes, Mr Denis Lavin, Mr Rick Maple, Ms Monica Beardsworth and Mr Sydney Fisher, are featured in A Dramatic Story: A History of Theatre at Rydal Penrhos School, a comprehensive paperback guide to the proud 134-year theatrical tradition of Rydal, Penrhos and Rydal Penrhos. From Rydal’s La Fortunata Pittura (1899) and Penrhos’ As You Like It (1905) to Rydal Penrhos’ A Servant to Two Masters (2014) and Cabaret (2015), the book features many contemporary reviews, photographs and testimony from important figures in our dramatic history, including Mr John Fletcher and Mr Lavin.
Below are a few select reviews featured in the book. If you would like to order a copy, (£10), please contact Hannah Patrick at hpatrick@rydalpenrhos.com or on +44 (0)1492 530 155.
Woyzeck (Rydal Penrhos; October 2012)
This was the first production by the Rydal Penrhos Studio Theatre Group, which aims to put on plays that are less commonly staged and to explore experimental performance styles.
Malte Rieß in Woyzeck
The play was originally written in German in the early 19th century and remains a landmark in European drama, influencing dramatists such as Bertolt Brecht. The Modern Languages and Drama Departments joined forces to produce a bi-lingual version of this play, with some scenes in English and others in German, and the production was co-directed by Mr Lavin and Frau Boxleitner. As Mr Lavin wrote in his introduction to the play: ‘The power and resonance of [playwright Georg] Büchner’s language is lost in translation, so we decided to present some scenes in German to bring the audience in touch with the original sound.’
Woyzek – An ensemble cast
The international cast moved seamlessly between the two languages, with the effect that the audience soon became almost unaware of the switch from one language to another – a truly impressive dramatic feat. Congratulations go to all the cast who charted Woyzeck’s descent into mental breakdown with such passion and conviction.
Woyzek – Lara Roth as Marie
A Midsummer’s Night’s Dream (Rydal Penrhos; March 2012)
For his swansong Denis Lavin chose to return to Shakespeare, perhaps his greatest love. Helped by Leah Crimes, a fantastic cast and a host of extremely competent backroom and front of house helpers, the challenges were overcome with panache, energy and a huge sense of fun. Not bad for such a young cast working with language over 400 years old.
The Memorial Hall had been set up virtually ‘in the round’ for the production but with one side (the traditional stage side) being left free of seating – except that is for the Art Deco chaise longue which was to host Titania’s mid-forest boudoir later in the play.
All in all this was a pacy, funny and enjoyable production, much enjoyed by this reviewer and the audience on the night. A huge credit to all concerned. Mr Lavin will be sorely missed.
A Midsummer's Night's Dream – In the round
Chase Me Up Farndale Avenue, S’il Vous Plaît (Penrhos College; 1996)
Mr Fletcher’s follow-up to his successful production of King Lear. Here, however, is where any similarities end. The play was certainly not a tragedy. The programme promised the audience ‘a comedy très saucy’, and that’s exactly what we got.
The small cast played five members of the Farndale Avenue Housing Estate Townswomen’s Guild Dramatic Society who were in turn playing a total of twelve characters in their own dramatic production. This was a mere taste of the confusion which was to follow. Alicia O’Leary’s interpretation of Gordon, the long-suffering stage manager, was highly convincing. Katie Johnson played the role of poor scatty Minnie and produced many laughs. Clair Bewley gave a delightful performance as the bossy Mrs Reece. The drama queen of the show was Thelma played beautifully by Bethan Adams.
The play was certainly one of Mr Fletcher’s most ambitious projects and the success of the three performances was, I’m sure, the most valuable reward he could have received for this daring venture. Congratulations to all involved.
By Chantal Collison
Chase Me Up Farndale Avenue, S’il Vous Plaît – Clair Bewley as Mrs Reece
Forty Years On (Rydal School; November 1985)
Of special note must be the talent the School possesses in David Cooper. The play is long, and fragmentary, but Cooper held it together, delighting the audience with his presence; he moved from the comic to the poignant with an ease found lacking in many professional performers.
The ideas of this play resonate around Rydal in this important year (the School’s centenary). We are often told either to look back to the past as a ‘Golden Era’ or to reject the past and look forward to a ‘Golden Tomorrow’. But why a dichotomous choice? Surely the answer lies between the two extremes? Surely we should evaluate, judge cautiously and accept what is good and reject what is bad purely on merit?
The play is challenging but as Rydal enters its second century, it is pertinent to raise these fundamental questions about tradition and progress. The School is a microcosm of society facing the pressures of these two demands and we must continue to achieve a careful balance between them if we are to continue a relevant social function.
By Tim Ward
Forty Years On
X=O or, Night of the Trojan War (Penrhos College; May 1936)
The play shows the futility of war. It deals with the fortunes of two pairs of young men. Two are Trojans guarding the walls of Troy and two are Greeks laying siege to the ancient city. When the play opens the two Greeks are discussing the ‘Might have beens’. Both longed to serve their country in other ways: Salvius as a poet, Pronas as a statesman.
On the walls of Troy, a similar scene is taking place. Capys and Ilus too are discussing the tragedy of war.
That night Pronas and Ilus both go to do their duty fighting and both return the next morning to find their respective friends dead.
The staging was simple. The actors spoke the verse with restraint and yet with feeling. The whole production was most moving. The play was extremely well staged and most impressively acted.
By Margaret Haythornthwaite
Jane Steel and Mary Perry in Night of the Trojan War
St Joan (Rydal School; October 1932)
B. W. Gregory as the Maid was the soul of the play. He seemed at once both human and inspired and acted with a magnificent and infectious enthusiasm. His conception of Joan’s psychology was intelligent and consistent.
R. W. Cooper invested the Dauphin with the correct amount of blasé weariness, blended successfully with that ill-tempered, ill-bred attitude necessary to the portrayal of this character. The deliberate style of N. B. Kay was well in keeping with the role of the Earl of Warwick and he introduced the correct amount of cynicism to relieve the character of its unbending stiffness.
L. F. W. Maclaine is to be congratulated on a very intelligent understanding of the Inquisitor and his performance could hardly have been bettered.
Ben Gregory in St Joan
N. A. Smith cleverly surmounted the difficulties of John de Stogumber, but did not stress sufficiently the conceit of the Englishman as expressed in this character.
Both T. H. W. Baker and N. B. Ranns were dignified as the Archbishop of Rheims and Bishop of Beauvais respectively. Sound performances came also from J. O. Gregory, G. W. Singleton, G. Wooller and C. L. McKee.
The producers need no praise, for they cherish the memory and satisfaction of having given to those interested in Rydal the most worthwhile play the School Dramatic Society has ever produced.
By Lloyd Parry-Williams (RPS 2007–2016, Marketing & Admissions Assistant)
St Joan – Pageant in School House garden
