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The front cover of the programme is DD095849.
John Arden's THE BUSINESS OF GOOD GOVERNMENT The Angel Ashley Hodgson King Herod Brian Sanders His Secretary John Lowenheck Three Wise Men Edwin Potter John Heather Tim Jago Three shepherds Bob Anthony Ted Silk Jack Mortimer Hostess Dorothy Pester Joseph Bill Taylor Mary Audrey Shepherd Midwife Phyllis Bardell Farmgirl Jean Higham Production by Ian Cotterell Soundscore composed by Delia Derbishire [sic] of Unit Delta Plus. Ballads and Carols -- Traditional Costumes designed by Ian Cotterell, in conjunction with Jean Golder and made under her direction by members of the Church and Theatre 62 Stage Director John Shepherd Stage Manager Pamela Noble Assistant Stage Manager Diana Rogers Prompt Dorothy Moss Lighting Derek Pratt Sound Douglas Berney ABOUT THIS PLAY John Arder was born in Barnsley, Yorkshire in 1930. While studying architecture at Cambridge and Edinburgh he began to write plays, four of which were presented by the English Stage Company: The Waters of Babylon, Live like Pigs, Serjeant Musgrave's Dance and The Happy Haven. The Cor- poration of London commissioned Left Handed Liberty to commemorate the 750th anniversary of the Magna Carta and the National Theatre have produced The Workhouse Donkey and Armstrong's Last Goodnight. During the early part of his dramatic career he spent a year at Bristol holding the annual Fellowship in Playwriting. Whilst living in somerset he wrote The Business of Good Govern- ment for the village of Brent Knoll where it was first performed in the Church of St. Michael during the Christman Season 1960. This play has a radiant grace and simplicity which makes clear some of the lessons Arden has learnt from a study of the mdieval stage. Audiences may be disconcerted by the treatment of Herod, who is not seen as the usual medieval monster ‘out-Heroding Herod’ but as an astute ruler and politician— As Dorothy L. Sayers has pointed out he was not called Herod the Great for nothing. As the title suggests, this play goes to the heart of his current preoccupations: the very practical business of good govenment and the relationship between principle and expediency. But Arden never takes sides or paints in black and white, he gives a straight statement of the conflict, and, rather disconcertingly, leaves the moral conclusions to be worked out by the audience. John Arden is the most consistently impressive of out contemporary playrights [sic]. Recently Tom Milne in the Sunday Times suggested that ‘The modern theatre has had its poets and it has its dramatists, but in John Arden it has acquired its first dramatic poet since—well, let's be rash—the days of Shakespeare’. Theatre 62 would like to thank Keith Hill, Walter Hyde and Bill Winter for their help in constructing the stage, and all those who have helped in any way to make this production possible.