Priestley Plays Four Read online

  Published in this collection in 2013 by Oberon Books Ltd

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  Jenny Villiers copyright © J.B. Priestley 1946

  The Thirty-First of June copyright © J.B. Priestley 1957

  Introduction copyright © Tom Priestley 2013

  J.B. Priestley is hereby identified as author of these plays in accordance with section 77 of the Copyright, Designs and Patents Act 1988. The author has asserted his moral rights.

  All rights whatsoever in these plays are strictly reserved and application for performance etc. should be made before commencement of rehearsal to United Agents, 12-26 Lexington Stree, London W1F 0LE ([email protected]).

  No performance may be given unless a licence has been obtained, and no alterations may be made in the title or the text of the plays without the author’s prior written consent.

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  A catalogue record for this book is available from the British Library.

  PB ISBN: 978-1-84943-217-7

  E ISBN: 978-1-8494-3732-5

  Printed in Great Britain

  by Marston Book Services Limited, Didcot.

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  Contents

  Introduction

  The Thirty-First of June

  Characters

  Scenes

  Act One

  Overture

  Scene One

  Scene Two

  Scene Three

  Scene Four

  Scene Five

  Scene Six

  Scene Seven

  Scene Eight

  Act Two

  Scene Two

  Scene Three

  Scene Four

  Scene Five

  Scene Six

  Scene Seven

  Scene Eight

  Jenny Villiers

  Characters

  Act One

  Act Two

  Introduction

  BY TOM PRIESTLEY

  These two little-known plays illustrate beautifully my father’s love of experimenting and trying his hand at new types of drama, indeed new types of writing.

  Both are totally different and yet both have key elements in common. The Thirty-First of June is a jolly, frolic of a play painted in broad strokes of vivid colour, with over-the-top characters who lurch between two time zones, contemporary and medieval, with characters from one stumbling into the other until triumphantly at the end both combine, and there is no longer ‘now’ or ‘then’.

  This theme, quite differently handled, occurs too in Jenny Villiers. There, people from what seems to be the past inform and instruct characters in the present; but what is past and what is present? The two overlap becoming a whole, a uniform blend of time. The malaise of the contemporary dissolves into a continuum in which negativity disappears as a tired scum on the surface of experience, leaving the rich vigour of life blazing below, crossing the generations. What was good then is still good now, whereas what was bad was ephemeral and short-lived.

  Once the classical unities dissolve, scenes can easily shift from place to place, and it is only a short step to scenes in different times, and ultimately scenes combining times. These now are commonplace with the newer media of film and television, but in the days of JBP they were revolutionary. In these two plays he uses the time shifts to suit his subjects; comic in one, tragic in the other, but the tragedy leads to redemption, death to renewed life.

  But there is a further connection between the two plays. Beyond a first appearance on the stage, 1946 Theatre Royal Bristol Jenny Villiers and 1957 Old Theatre London School of Economics The Thirty-First of June, neither flourished in the theatre so my father rewrote them as novels, published in 1947 and 1961 respectively. However in the case of Jenny Villiers, the novel was based on the original version of the play, as performed in Bristol, but he rewrote the play to produce the version printed here. But even that was not performed, because JBP refused permission for repertory productions while negotiations failed for possible film versions. However it was serialised on Woman’s Hour in 1949, and broadcast in Saturday Night Theatre in 1954, following a TV production in 1948.

  The Thirty-First of June in turn was broadcast on Afternoon Theatre in 1983 and read as a Book at Bedtime in 2005. There was interest abroad especially in Russia. But it is still waiting to be performed. Interestingly both plays would benefit from the new technology in the Theatre, to present the effortless blending of time zones without obvious trickery, and of course they would work splendidly on film or television.

  THE THIRTY-FIRST OF JUNE

  Characters

  (Leading characters in CAPS)

  PERADORE CHARACTERS

  PRINCESS MELICENT

  KING MELIOT

  her father

  MALAGRAM

  An old enchanter

  Malgrim

  another enchanter, nephew of above

  Ninette

  Lady-in-waiting to the Princess

  Alison

  Master Jarvie

  Doctor at King Meliot’s Court

  Lamison

  A musician

  Grumet

  A dwarf

  First Soldier

  Second Soldier

  Herald

  Some extras for end of Scene 4, Act 2.

  LONDON CHARACTERS

  SAM PENTY

  An artist employed by the advertising agency

  CAPTAIN PLUNKET

  An adventurer

  DIMMOCK (‘D.D.’)

  Director of an advertising agency

  BARMAID

  At The Black Horse

  Anne Dutton-Swift

  An assistant to Dimmock

  Philip Spencer-Smith

  An assistant to Dimmock

  Peggy

  Dimmock’s secretary

  Dr Jarvis

  Modern equivalent of Master Jarvie

  Man

  Regular customer at The Black Horse

  Mrs Shiny

  Important Housewife

  Ted Gizzard

  Trade Union Official

  SCENES

  (NOTE: This play can be done fairly simply, according to the ingenuity of the director and the designer, against black drapes, using screens to suggest walls and with the essential minimum number of furnishings and props. Or comparatively simple sets can be used – none of them a box set – and the order of the scenes has been arranged to make the changes easy. LARGE means that the essential parts of the set are well upstage; MEDIUM that they are roughly about centre; SMALL that they are downstage, leaving plenty of room for changes behind them. ENTRANCE does not mean that a practicable door is necessary, only that access to the stage must be there. Right and Left are actors’ R. and L..)

  ACT ONE

  Scene One: The Castle. MEDIUM. Walls suggested by tapestry hangings. No doors or windows. Entrances R. and L.. A very fat stone pillar a little downstage L.C. for enchanters to make their magical appearances and disappearances. A few stools to sit
on. Rich warm lighting, not too bright.

  Scene Two: Dimmock’s office. LARGE. Light and bright. Desk at back. Suggested window back L.. Further down L. a trick cupboard, with easy swinging doors for quick entrances and exits, with two doors behind, showing files and book backs, that are closed after exits to suggest cupboard is solidly full. One entrance R. – if possible a practicable door. A light chair behind desk, and possibly two in front of it. Powerful noise effect of electric drill just behind suggested window. Lighting should be clear, bright, hard.

  Scene Three: Castle, as before.

  Scene Four: Private Bar of The Black Horse. MEDIUM or SMALL. Counter and bar at back. Entrance R.. On wall down L. a hinged advertising mirror – or similar device – for magical exits. Warm and rather subdued lighting.

  Scene Five: Dimmock’s office, as before.

  Scene Six: Castle, as before.

  Scene Seven: Television Studio. SMALL. A backing with four chairs. Very hard bright light. One entrance R. or L..

  Scene Eight: Dungeon in the Castle. SMALL. Entrance from back, preferably with suggestion of steps coming down. Only tiny acting area given any light.

  ACT TWO

  Scene One: Private Bar, as before.

  Scene Two: Castle, as before, but some change in lighting.

  Scene Three: Dungeon, as before exactly.

  Scene Four: Pavilion at Tournament. MEDIUM. Suggesting a kind of marquee. Hangings for walls could be those of castle reversed. Entrance R. and at L. main entrance to Pavilion, with flaps that can be fastened. A bench or two or three stools. Lighting rather subdued with brilliant sunlight outside L. entrance, together with various noise effects there.

  Scene Five: Interior tent. SMALL. Tiny and set well downstage. One entrance either L. or R. Bench. Subdued lighting as in Scene 4.

  Scene Six: Dragon’s Lair. LARGE. A glade, so some suggestions of foliage at back and R. and L. a bush or rock coming some way downstage centre. In front is smaller rock for sitting on. Entrance upstage R. At L., not visible from entrance R., is enormous dragon’s head, with puffs of smoke coming out of its nostrils. Eyes are closed, but if possible they should be capable of being opened. Head is constructed so that it is easy for actor playing Dimmock to speak through it. Strong clear sunlight.

  Scene Seven: Enchanters Dining Room. SMALL. Table just big enough to seat four, and four stools. One Entrance either R. or L.. Strong focussed light on table, not spilling. Outside this a murky atmosphere. Table arranged for various trick effects.

  Scene Eight: Wedding Banquet. LARGE. This should suggest the Castle on one side and Dimmock’s office on the other, being a mixture of two worlds. Apparently a semi-circular table runs from downstage R. to upstage centre to downstage L.. (This can be suggested by a number of small tables with cloths over them. In R. half everything is medieval, the table crowded with immense prop. dishes and flagons etc. In L. half everything is modern and very meagre. Full company, either in medieval or modern costume, is seated behind table, with all chief characters upstage centre. Rich warm light. If seating is difficult, the people downstage at each side can be standing.

  Act One

  OVERTURE

  A short overture is played in front of curtain or on two rostrums at each end of orchestral pit – with a medieval musician – or musicians – at one, and a modern musician – or musicians – at the other. The music must be written so that the saxophone and/or trombone of the moderns does not drown the lighter playing of the medieval musicians. The latter must include an apparent lute-player (this could be recorded if necessary) who when others have finished and gone off, begins playing again and, after curtain rises, walks into set and sits down, still playing. (NOTE: all succeeding scenes can be introduced like this, the medieval with medieval musician, the modern with modern musician, but in later scenes they do not go into the set and the action but merely until the scene is lit and action ready to start.)

  SCENE ONE

  Room in Castle of King Meliot of Peradore. A lute-player, whose name is LAMISON, continues playing, NINETTE and ALISON enter L.. They are dressed in bright medieval costumes. NINETTE is a sultry dangerous redhead. ALISON is a pretty-ish mousy girl, a familiar English type at all periods.

  NINETTE: (Crossly to LAMISON.) Oh – do stop playing that boring old tune. Don’t you know anything else?

  ALISON: (Reproachfully.) You promised to learn The Black Knight Hath My Heart.

  LAMISON mutters something inaudible, and stops playing, though remains sitting.

  NINETTE: If Melicent brings that magic mirror with her, I’ll ask to look into it.

  ALISON: Oh – Ninette – dare you?

  NINETTE: Yes. And anyhow, the magic mirror isn’t hers, and it’ll have to go back to that enchanter very soon – perhaps this morning.

  ALISON: (Sighing.) Tapestry again, I suppose. And I’ll have a headache. Why doesn’t anything happen now, here in Peradore. My cousin Elaine’s having a marvellous time in Camelot. Several fascinating enchanters, two giants and a dragon in the neighbourhood and three or four castles under spells, and Knights of the Round Table all over the place, rescuing everybody – lovely parties every night.

  NINETTE: (Fiercely.) It’s no use sighing and mooning. We must make things happen.

  ALISON: (Wistfully.) You can’t if you’re a virtuous-damsel character like me.

  NINETTE: Well, I’m wicked – thank goodness! Let me have the ghost of a chance and I’ll make things happen.

  Enter L. PRINCESS MELICENT, an exquisite girl. She is busy rubbing with a small piece of silk the magic mirror, which is about eighteen inches square, made of shining metal with a dark frame.

  MELICENT: I’m furious. I’ve stared and stared but I can’t see him this morning. And I’m sure he’s still thinking about me. I feel he is. The magic can’t be working.

  NINETTE: Perhaps if I had a try –

  MELICENT: Master Malgrim, the enchanter, only lent it to me.

  NINETTE: Only just a quick peep to see if it’s still working –

  She almost takes it from MELICENT, stares into it, then gives a cry of annoyance and marches straight over to LAMISON and slaps his face.

  You low impudent brute! And not even a good lute-player.

  MELICENT: (With dignity.) You may go, Lamison. No music this morning.

  He bows and goes off R..

  NINETTE: (Returning the mirror.) It worked for me –

  MELICENT: Yes, but Lamison was so near. Not like him, my one, who’s far far away. It’s maddening not being able to see him again. What day is it?

  ALISON: Lunaday – the thirty-first of June. Lovely day too. Can’t we go out?

  MELICENT: No, our royal parent wishes to speak to me. It’ll have to be tapestry.

  NINETTE: Oh – not yet. You never told us what this knight was wearing.

  MELICENT: (Confidential, delighted.) Well, he seemed to be wearing a kind of coat made of yellow wool over a white shirt. And I don’t think he’s a knight. Nor a squire. Some kind of artist, I think. (Still more confidential.) And this is a secret. His name’s Sam.

  NINETTE & ALISON: (Together.) Sam?

  MELICENT: Sam. Isn’t that sweet? Another thing I didn’t tell you about him – he can blow smoke out of his mouth.

  ALISON: (Astounded.) Like a dragon?

  MELICENT: No, not a bit like a dragon. Not blowing angrily – but nicely –

  NINETTE: Perhaps he’s an enchanter –

  MELICENT: No, he isn’t. Just because your aunt was supposed to be a sorceress, Ninette, you’ve got sorcerers, wizards and enchanters on the brain –

  Enter HERALD at R..

  HERALD: (Like a professional toastmaster.) Noble Princess Melicent – ladies – I beg to announce His Royal Majesty, King Meliot of Peradore – High Lord of Bergamore, Marralore and Parlot – Overlord of Lancington, Low Moss and Three Bridges!

  MELICENT: I think you overdo those places. Who cares about Low Moss and Three Bridges!

  There is a loud flourish
of trumpets outside door R.. The girls cover their ears and pull disgusted faces. The king enters. He is a worried-looking middle-aged man with a fussy manner and staccato speech. He is wearing a light crown and untidy but gorgeous robes. The girls curtsy.

  KING: Morning, Melicent! Morning, girls! Not started work yet? Tapestry production has gone down seventy-five per cent since we lost our dear Queen. Well now, we’ve just received a summons to attend a conference at Camelot –

  The girls are at once eager and excited.

  MELICENT: When do we go?

  KING: You don’t. Men only – not even queens invited. Defence problems. In any case Camelot these days isn’t the place for young unmarried daughters. Queen Guenevere – charming woman of course – but – well –

  MELICENT: Don’t be absurd, father. We all know about her and Sir Lancelot –

  KING: (Suddenly angry, shouting.) You don’t. Nobody does. All damned nonsense!

  MELICENT: Well, then, if it’s nonsense, why can’t –

  KING: (Cutting in, angrily.) Don’t try to argue, girl. You’ve no reason, no logic. Quiet now! We want to think. Why are we here? Oh yes – we want to take our dwarf, Grumet, to Camelot – what have you done with him?

  MELICENT: Oh – father, darling – you can’t take Grumet to Camelot again. He can’t talk – and he’s only got three boring tricks –

  KING: Quite enough. And the one with the venison pasty was a remarkable success last time. Sir Pelleas offered us a master armourer for him. No, we must have Grumet! Where is he?

  MELICENT: (Hesitantly.) I’ve sent him – to find somebody –

  KING: Find somebody? Who? Where? Why?

  MELICENT: Well, you remember Master Malgrim, the enchanter –

  KING: Yes. New fella. Came with a letter from King Mark, wanting our patronage. Didn’t take to him much? What about him?

  MELICENT: He lent me a magic mirror. It shows you anybody who’s thinking about you –

  KING: Nonsense! You girls’ll believe anything. Where is it?

  MELICENT: (Handing it to him.) Here.