production of The Importance of Being Ernest
was performed at Belmont. The producer
then was Dom Roger Hosker, and the play
proved to be so popular that it was taken on
Tour with five performances from Stafford-
shire to Cardiff.
Though the days of travelling Belmont
Players are unfortunately over, I am assured
by those who remember the last production
that our efforts in 1985 were equally successful.
Ours was an extremely lavish production.
Costumes were hired from the famous
London Theatrical Costumiers Bermans &
Nathans and were exquisite in every detail.
They complemented the sets designed by
Sandy Elliott and Christopher Bateman. An
army of almost entirely nocturnal stage hands
constructed three sets of quite stunning 19th
century opulence. Great swags of hand
printed silk dominated the interiors of acts I &
III, and an absolute forest 'courtesy of the
Hereford Parks Dept' was created for the
Garden Scene in Act II.
The quite frantic but remarkably speedy
change of scenes was a sight which filled me
with wonder if not a little anxiety at every
performance. A special note of thanks must
go to William Rudgard who in order to help
with a particularly tricky change was forced
to perch high in the rigging for the Acts I & II,
suffering for his art. With the exception of
John Bellingham who played Lane (the
Manservant) and of Oliver Rudgard whose
confident and extremely comical performance
as Merriman was one of the high points of
Act II, all the actors were newcomers to the
Belmont Stage, though it was immediately
obvious from Valerie Vaughan-Williams'
performance as Miss Prism that she was an
experienced actress. She brought a special
calm to rather troubled rehearsals.
Toby Hughes with his extravagant portrayal
of Algernon Moncrieffleft us all in no doubt
that he was all too familiar with the world of
the chaise longue and the smoking jacket, and
was a splendid contrast to the respectable
John Worthing who was played with great
attention to detail of manner and of sartorial
elegance by Marcus Wrinch.
A great deal of the humour in Acts I & II
depends on the infamous Lady Bracknell who
is required to dominate the stage whenever
she appears. We were not to be disappointed
in the memorable performance of Eleanor
Lonergan, her voice 'helped by the producer's
magic pastilles' echoed through the theatre,
with an excellent sense of timing and use of
expression and gesture. She was able to wring
the last drop of humour out of those well
known lines.
The cast also included Stephen Warde, Bruce
Wilson, Alison Davies & Louisa Fox.
Together we were able to produce a
beautifully staged and acted period comedy.
The Lent Term saw the revival of the Inter
House Play Festival. A great deal of effort
and imagination went into the four
productions which were entered in the
Festival. We were fortunate to have as our
adjudicator David Barry. Trained at the
Central School of Speech and Drama, he was
a professional actor for thirty years working
opposite such actresses as Dame Sybil
Thorndike. He now lives in Hereford and
continues his involvement with theatre as a
Director for the Wye Players.
a lively and energetic performance of Ernie's
Incredible Illucinations by Alan Ayckbourn.
Ethelbert House introduced an air of culture
into the festival with a very capable
production of the Trial Scene from Saint
Joan by George Bernard Shaw. It was much
appreciated by the adjudicator who had
himself directed the play five times and was
able to give a very entertaining and informed
assessment of the performance.
Vaughan House produced an adapted version
of Journey's End by R.C. Sherriff. The
atmosphere of this World War I drama was
expertly conveyed by the most effective set
and costumes.
The Winning Production was from Cantilupe
House. A performance of Fifteen Minute
Hamlet by Tom Stoppard delighted the entire
audience. It was a cleverly directed and very
well acted performance of an entertaining and
witty play. Congratulations to the Director
and the Cast.
Dom Antony