Download “THE PRODIGIOUS SNOB”

“THE PRODIGIOUS SNOB”
“Oh, but I can dance the minuet almost as well as I can sing.”
For some reason. probably owing to a combination of stern religion and Aristotle’s poetics, comedy has for
long been considered inferior to tragedy. Therefore the attentions of moralists, philosophers and critics
has been given most often to the latter. This is illogical; the mask of comedy stands alongside, not beneath,
that of tragedy, for they should be complementary. If tragedy, as Aristotle and most persons since have
taught, has the function of psychological purification, so, surely, has pure comedy, which, through ridicule
and its consequent laughter, should either kill or keep under control the follies of mankind. “Lord, what
fools these mortals be!” lf the particular idiocy is a grave one, the ridicule becomes angry satire and the
laughter bitter. Real fun comes in when the foible is trifling.
“And how does the good lady of the house find herself”
“Le Bourgeois Gentilhomme,” somewhat unfairly translated as “ The Prodigious Snob,” is about the less
harmful results of that meanest of human failings—snobbery that can bring quite disastrous results, not
only for the individual but for society generally. M. Jourdain’s snobbery is not really “prodigious,” for he is
that common and ridiculous, though relatively harmless person, the social climber—always with us and in
increasing numbers. It has been whispered that there are private “polishing” schools for our modern M.
Jourdain—and his wife!
This was a most enjoyable play with no anger or bitterness in it. Perhaps Moliere, who came from the same
class as M. Jourdain, was laughing at himself. The well-meant applause on the rising of the curtain, at Mr.
.lensen’s admirably designed and executed interior, and at what the Victorians would have called a
“tableau ”—the positioning of the actors in dumbshow set the tone and tempo for the rest of the evening.
The obvious enthusiasm of the cast—also reflected behind the scenes among the back-room people, l
understand—was highly infective. Mr. Jones and Mr. Bowler won the thanks of all of us for what one
member of the audience described as one of the most enjoyable productions ever. G. Batty was most
energetic as M. Jourdain—he knew where he was going, even if nobody else did, and was determined to
get there. Gusto is the right word for his performance, and the ability to think himself into the part. I
expect to hear of more dramatic successes when he goes to Cambridge.
T. M. Sporton as a Music Master, and R. J. Bemrose as a Fencing Master, were both very good. B. Smith
gave a polished performance as a Dancing Master—glib and facile. No wonder to be called a dancing
master was highly insulting! J. C. Tingay was indeed masterly as an aged and crabbed philosopher. eternally
stung into spasms of energy by the bees buzzing in his head.
“Yic yoc-Ala-ha-ma”
R. P. Wilson, looking remarkably like Captain Jack Absolute, was robust and manly as the soldier-lover
Cléonte. He certainly knows how to speak his words. G. Elliott was a noteworthy discovery and a great
success as Cléonte's servant, Covielle. Not a “ gentleman’s gentleman." of course, for that type did not
appear for a good many years. What fun Elliott got out of it all—as he usually does!
As for Count Dorante—well. he was M. N. Johnson, so what more can one say except this was a very
amusing and delicately polished performance. What courtly gestures—and what a devastating quizzing
glass!
Very pleasing performances were given by R. C. Else as Madame Jourdain-he has a pleasant voice-and by
one of our younger actors, J. F. Powell, as the Marchioness Dorimene. D. R. Bowers was the most
successful of the “female” actors as the pert and lively lady‘s maid, Nicole, while D. S. Fish, another young
actor, made a good Lucille.
R. Davenport and M. B. Winterbottom were quite a success as the two flunkeys, as was J. D. Gilling as the
Tailor, R. N. Buchan as the Fencing Master’s assistant, S. McCall as the Mufti, and R. Norris as a serving
maid.
But there are three more whom l must really praise—E. Brakes, for his charming singing, A. Jarvis, for his
beautiful playing of the accompaniments on the spinet, and, most of all, R. P. Harbord, for a little
masterpiece of comic action and facial contortion as the Tailor’s Assistant.
And J. T. Wildin and B. James? The never-to-be-forgotten dancing girls, of course ! The remaining Turks and
Dervishes were G. Watkin, J. Drury, D. L. Gath, J. A. Marriott, J. L. Horrocks and R. A. Smith.
Mr. J. R. Webster, as always, was the most efficient of stage managers, ably assisted by Mr. R. M. Adlen,
and Mr. A. Jensen and Mr. Page designed, constructed and painted, assisted by staff and boys, the sets
which l have already praised.
No play could ever be put on without all those who did the excellent make-up—this improves each year;
the staff wives who helped with the wardrobe, not forgetting all who helped in other ways, as in lending
various properties; and the man who sells the tickets—Mr. North.
The music was, of course, delightfully played by the school orchestra, directed by none other than Mr.
Bryars—there is indeed no other!
E.L.W.
“I can’t, It’s heavy”
“So! This why I was packed off to my sister’s”
THE CHARACTERS.
A Composer
A Music Master
A Dancing Master
A Lady Singer
1st Flunkey
2nd Flunkey
Monsieur Jourdain
A. JARVIS
T. M. SPORTON
B. SMITH
E. N. BRAKES
R. DAVENPORT
M. B. WlNTERBOTTOM
G. BATTY
A Fencing Master
R.J. BEMROSE
The Fencing Master’s Assistant
K.N. BUCHAN
A Philosopher
J.C.W. TINGAY
A Tailor
The Tailor’s Assistant
Nicole, Madame Jourdain‘s maid
Madame Jourdain
Count Dorante
Cléonte, in love with Lucille
J.D. GILLING
R. P. HARBORD
D. R. BOWERS
R. C. ELSE
M. N. JOHNSON
R. P. WILSON
Covielle, Cléonle’s servant
G. ELLIOTT
Lucille, Jourdain’s daughter
D. S. FISH
The Marchioness Doriméne
J. F. POWELL
A Chef
A Serving Maid
The Mufti
Turks, Dancing Girls and Dervishes
G. WATKIN, B. JAMES, J. DRURY, D. L. GATH,
J. A. MARRIOTT, R. A. SMITH, J. T. WILDIN
J. L. HORROCKS
R. J. NORRIS
S. MCCALL