The Browning Version

Terence Rattigan

• Publisher: Nick Hern Books
• Year: 2013
• Print ISBN: 9781854597106
• eBook ISBN: 9781780011059
• Topic: Literature
• Subtopic: British Drama
• Index: Literature

Rattigan's well-loved play about an unpopular schoolmaster who snatches a last shred of dignity from the collapse of his career and his marriage. Twice filmed (with Michael Redgrave and Albert Finney) and frequently revived.

Andrew Crocker-Harris' wife Millie has become embittered and fatigued by her husband's lack of passion and ambition. On the verge of retirement, and divorce, Andrew is forced to come to terms with the platitude his life has become. Then John Taplow, a previously unnoticed pupil, gives Andrew an unexpected parting gift: a second-hand copy of Robert Browning's translation of Agamemnon – a gift which offers not only a opportunity for redemption, but the chance to gain back some dignity.

The Browning Version was premiered at the Phoenix Theatre, London, in September 1948.

This volume also contains Harlequinade, a farce about a touring theatre troupe, written to accompany The Browning Version in a double-bill under the joint title, Playbill.

'Few dramatists of this century have written with more understanding of the human heart than Terence Rattigan' Michael Billington

This edition includes an authoritative introduction and biographical sketch by Rattigan scholar Dan Rebellato, along with a chronology of his plays.

Harlequinade was first produced in a double-bill with The Browning Version, under the joint title, Playbill, at the Phoenix Theatre, London, on September 8th, 1948, with the following cast:

ARTHUR GOSPORT	Eric Portman
EDNA SELBY	Mary Ellis
DAME MAUD GOSPORT	Marie Löhr
JACK WAKEFIELD	Hector Ross
GEORGE CHUDLEIGH	Kenneth Edwards
FIRST HALBERDIER	Peter Scott
SECOND HALBERDIER	Basil Howes
MISS FISHLOCK	Noel Dyson
FRED INGRAM	Anthony Oliver
JOHNNY	Henry Bryce
MURIEL PALMER	Thelma Ruby
TOM PALMER	Patrick Jordan
MR. BURTON	Campbell Cotts
JOYCE LANGLAND	Henryetta Edwards
POLICEMAN	Manville Tarrant

The play directed by PETER GLENVILLE

Harlequinade

Scene: the stage of a theatre in a Midlands town. The lights are out on the rise of the curtain. They come on gradually to reveal the graceful figure of ARTHUR GOSPORT as he enters. He is dressed in doublet and tights.

ARTHUR. (Shouting over his shoulder.) He jests at scars that never felt a wound.

The lights now reveal enough for us to see that he has found himself in an unmistakable, if rather severely functional, fiftteenth-century Italian garden, with, at one side, the balcony of a house, from the window of which is shining a light.

But, soft! What light through yonder window breaks?

It is the east, and Juliet is the sun!

Arise, fair sun, and kill the envious moon,

Who is already sick and pale with grief,

That thou her maid art far more fair than she:

Be not her maid, since she is envious;

Her vestal livery is but sick and green,

And none but fools do wear it; cast it off.

Juliet, in the person of EDNA SELBY, appears at the balcony above.

It is my lady; O, it is my love!

O, that she knew she were!

EDNA emits a melodious sigh and gives a sad shake of the head.

She speaks, yet she says nothing; and what of that?

Her eye discourses, I will answer it.

He comes forward, then leaps back.

I am too bold, ’tis not to me she speaks:

Two of the fairest stars in all the heaven,

Having some business, do entreat her eyes

To twinkle in their spheres till they return.

What if her eyes were there, they in her head?

The brightness of her cheek would shame those stars,

As daylight doth a lamp; her eyes in heaven

Would through the airy region stream so bright

That birds would sing, and think it were not night.

EDNA emits another melodious sigh, and rests her cheek thoughtfully upon her hand.

See how she leans her cheek upon her hand!

O, that I were a glove upon that hand,

That I might touch that cheek!

EDNA. Ah me!

ARTHUR. She speaks:

O, speak again, bright angel! for thou art

As glorious to this night, being o’er my head,

As is a winged messenger of heaven

Unto the white-upturned wondering eyes

Of mortals that fall back to gaze on him

When he bestrides the lazy-pacing clouds

And sails upon the bosom of the air.

EDNA. O Romeo, Romeo! Wherefore art thou Romeo?

Deny thy father and refuse thy name;

Or, if thou wilt not, be but sworn my love,

And I’ll no longer be a Capulet.

ARTHUR. (Aside.) Shall I hear more, or shall I speak at this?

In the intense excitement of his passion he gives a boyish leap on to a garden stool. EDNA’S glance momentarily wavers from the upper regions of the theatre, on which her eyes have been sentimentally fixed since the beginning of the scene.

EDNA. ’Tis but thy name that is my enemy;

Thou art thyself though, not a Montague.

What’s Montague?

Darling, are you going to do that tonight?

ARTHUR. What?

EDNA. That little jump.

ARTHUR. Well – yes – I thought I would. Why? Does it bother you?

EDNA. No, darling. Just so long as I know, that’s all.

ARTHUR. Sorry, darling. That’s quite all right. Let’s go back. (To prompt corner.) Yes?

JOHNNY, (From prompt corner.) ’Tis but thy name –

EDNA. (Sharply.) No. Before that. I want to give Mr. Gosport the cue for his little jump.

JOHNNY. (Off.) What little jump, Miss Selby?

EDNA. The little jump he does on to that stool.

Enter JOHNNY.

JOHNNY. Mr. Gosport doesn’t do a little jump, Miss Selby.

EDNA. Yes, he does do a little jump. He’s just done a little jump.

JOHNNY. He’s never done a little jump before.

EDNA. I know he’s never done a little jump before. But he’s doing a little jump now. He’s just put a little jump in.

ARTHUR. Look – I don’t think I’ll do the little jump, after all.

EDNA. Yes, you shall, my darling. You shall do the little jump. It looked very charming – very youthful. (To prompt corner.) When Mr. Gosport says: ‘Shall I speak at this?’ he does a little jump on to a stool. Now what’s my line before that?

JOHNNY. (Going off.) And I’ll no longer be a Capulet.

EDNA. (Resuming her pose.)

Or, if thou wilt not, be but sworn my love,

And I’ll no longer be a Capulet.

ARTHUR does his leap again, only this time it is, perhaps, not quite so boyish as before.

ARTHUR. Shall I hear more or shall I speak at this?

EDNA. ’Tis but thy name that is...

Table of contents

• Cover
• Title page
• Contents
• Introduction to Terence Rattigan
• Introduction to The Browning Version & Harlequinade
• List of Rattigan’s Produced Plays
• The Browning Version
• Characters & Original Production
• Harlequinade
• Foreword to Mr Wilmot
• Characters
• Original Production
• About the Author
• By the Same Author
• Copyright and Performing Rights Information