Much Ado About Nothing - Dramatic Society Production 17th-19th March, 1932
Review by N. A. D.
... Hero, the daughter of Leonata, Governor of Messina, is loved by Claudius, a gallant soldier returning from the wars, and a marriage is arranged. The warped and jealous nature of the villainous Don John, however, prompts him to conceive a plot to defame the fair name of the lovely Hero. The wicked story was too easily believed by her lover, who denounces her before her father at the altar during the marriage service. The kindly but shrewd officiating friar suggested a scheme whereby the gallant Master Claudius was eventually brought humbled and penitent to the feet of his fair lady and all ends happily to the tune of wedding bells.
...
From the moment that Beatrice and Benedick commenced their lively passage of arms in the first act, the attention of the audience was captivated and rivetted by this pair of youthful actors. N. Haigh as Beatrice, and M. F. Todd as Benedick, were entrusted with the great responsibility of providing the bulk of the light humour of the play and right loyally did they respond. There should be a great future for Todd in the ranks of the Old Boys' Dramatic Club if he has a mind that way.
E. A. Taylor made a charming Hero and played the part with a delicacy of feeling rarely found in one so young. Claudius infused plenty of life into his part and spoke his lines well. Young and A. G. Wilson, the father and uncle respectively of Hero, revealed unsuspected dramatic abilities, especially in the scene in the church and in the following scene when in denouncing Claudius they let themselves go with a will. W. M. White as the villainous Don John showed that he has a capacity for character acting above the average. He manipulated his voice to assimilate just that correct pitch of harshness and was successful in maintaining this throughout his performance. F. Pilborough carried through the part of Don Pedro, Prince of Aragon, his half-brother, with a befitting dignity and grace. Dogberry and his merry minions obviously enjoyed themselves, and the youthful members of the audience, myself included, would have liked to have seen more of them.
If ever I grow too old and crusty to enjoy the rough and tumble humour supplied by Messrs. J. C. Spiers (Dogberry), L. A. Wilson, E. Morley, C. R. Lee, K. V. Barton and F. R. Davies, then "I prithee write me down an ass." One of the best pieces of acting came from C. H. Champion as the kindly but shrewd Friar Francis. Only a small part, but an important obe. He spoke his lines with distinction and his clear diction was particularly noticeable. It was good to see those who had ut few words to say entering so thoroughly into the spirit of the play. S. T. Jenkins as Balthazar, who sang so delightfully "Men were deceivers ever," R. Nelms and A. W. Aylett, despicable hirelings of Don John; A. M. Davies and A. R. Atkinson, as two waiting gentlewomen on Hero; H. C. Meer, a sexton; R. J. Baylis, a messenger; D. R. Evans, a boy; all are to be congratulated on the enthusiasm they showed in backing up those of their fellows who had been entrusted with the more important parts.
The production throughout reached a very high standard and it was evident from the general ensemble and the admirably executed dances that Mr. Davies, the producer, had spent a great deal of time and patience to ensure that the usual high standard of these productions was maintained.
Thanks are also due to the Old Boys' Dramatic Club, who staged the production, and in particular to Miss Freda Poll for the scenery effects which heled so much to create the right atmosphere; Mr. J. Beet, who performed the duties of perruquier; and Mr. Chas. Zealey, the stage manager.
from The Gaytonian, May 1932