Home | News | This Season | Next Season | Bookings | Auditions | Members | Archive | History | Location | Links | Contact Us Bossenden
|
| Cast | |
| Sir William Courtney | Colin Hill |
| Hale | Neal Flux |
| Brede | John King |
| Mrs Thatcher | Shirley Jacobs |
| Daft Boy | Fay Rose |
| Lazarus | Derek Goulding |
| Wills | Roger Ford |
| Servant Girl | Patricia Robertson |
| Mr Dubois | David Hampton |
| Mr Stone | Cliff Williams |
| Rev Mr Handley | Paul Jennings |
| Mrs Brede | Veronica Robinson |
| Culver | Tony Donnelly |
| Dr Poore | Alan English |
| Sarah Culver | Jean Franks |
| Major Armstrong | Colin Townsley |
| Captain Reid | Andrew Purcell |
| Old Man | George Robinson |
| Ballad Singer | Glenys English |
| Crew | |
| Stage Manager | Freda Phillips |
| Assistant Stage Managers | Gillian Rafferty, Pat Martin, Christine Milkins |
| Set Design | Bob Lacey |
| Costumes | Pat Lacey, Joyce Milan, Gill Leggat |
| Lighting | Marilyn Matthews |
| Sound | Bill Ayling |
Preview
Local playwright's fascination with a Kentish character
Next week, Bexleyheath's Edward Alderton Theatre will stage a new play — Bossenden. It is the first work by playwright Brian Warner to be performed.
Behind the dramatic plot of Bossenden are hours of painstaking research and a dogged fascination with one of Kent's most fiery Victorian characters. For more than fifteen years, Brian, of Dorcis Avenue, Bexleyheath, has been obsessed by the figure of Sir William Courtenay, a fanatic whose insane mind foresaw the imminent destruction of the world and humane political reform in one vision.
Brian, 45, has always worked in banking, apart from two years with the Royal Air Force in the navigation section. Fifteen years ago he attended a series of lectures on Kent's history at the Adult Education Centre, Brampton Road, Bexleyheath. It was then that he first came across Sir William Courtenay. Later, when he looked over his notes, he found half of them referred to Courtenay, although the lecturer only spent ten minutes talking about him.
Since then, Brian has pored over various histories of Kent trying to piece together an accurate picture of Courtenay. Courtenay was really a Cornishman named John Thorn. He first made his mark in Kent when he appeared for the defence in a trial of some fishermen accused of smuggling. His evidence was trumped up and as a result he was accused of perjury.
He would normally have been transported but because he was of insane mind he was sent to Barming Asylum near Maidstone. When Queen Victoria came to the throne he was released under an amnesty.
The play deals with the last ten days of Courtenay's life in May 1838. He had become a religious preacher and political reformer and his insanity was seen in his extreme views. At times, he would prophesy the destruction of the world. Then, apparently disregarding this prediction, he would call for agrarian reform.
The play sees Courtenay gathering followers among the oppressed peasants and being recognised as a dangerous influence by the authorities. An unarmed sheriff is sent to arrest him and is killed by Courtenay. Although tagged a murderer, he loses none of his followers and eventually armed law forces move in to arrest him and this leads to the Battle of Bossenden.
Brian admits he has made Courtenay a slightly more attractive character than he was in real life. He sees him as a big man, more than 6ft tall, probably bearded and looking like an Old Testament prophet.
The play was completed about two years ago, about the time Brian and other volunteers hoped to complete building the Edward Alderton Theatre.
When the house lights go down this Saturday, Brian will be coping with all sorts of nervous tension. Bossenden is the first play he has directed and he readily admits he would have written the play differently if had known more about directing. As a director he has altered snatches of the dialogue to keep the play flowing. He is now looking forward to the last night, when he can finally relax and put long nights of rehearsal behind him.
When Brian is not writing, he enjoys walking — a few years ago he walked across Iceland and Lapland — sailing, skiing and oil painting. He also acts with the Edward Alderton Theatre group and has appeared in two of their last four plays.
Bexley Times | 14 October 1976
Review
Kent's Victorian prophet of doom
Last week's first ever public performance of Bossenden, written by Bexleyheath playwright Brian Warner, proved the most gripping work so far staged by the Edward Alderton Theatre.
Mr Warner, who also directed, had based his story on the fiery and erratic 19th century rebel Sir William Courtenay. Courtenay had all the depth and complexity of a Hamlet - torn between sheer genius and outraged lunacy. His reformist prophecies attracted a huge following among the down-trodden working class in Kent. As his popularity grew, it threatened the bastions of power and the comfortable place the Church occupied in society.
Within the play, Mr Warner managed to portray all the different emotions experienced by people faced with a dramatic change in living conditions - from the jubilant poor who see a promised land around the corner, to the distressed nobility who see their security being whittled away.
Bossenden, set in 1838, dealt with the last ten days of the self-styled Sir William Courtenay's life. Courtenay, really a Cornishman named John Thom, had recently been released from Barming Asylum near Maidstone His appeal for social reform attracted a huge following, although at the same time he foretold the end of the world.
Justices of the Peace and clergy became outraged at Courtenay's success and, in panic, ordered his arrest. He murdered an unarmed constable and eventually was killed when troops moved on his stronghold at Bossenden Farm. The plot is all historical fact.
Within the cosy intimacy of the Alderton Theatre, the audience became absorbed by the play. The dark, heavy atmosphere of the time descended like a blanket and shrouded us throughout the two-hour performance. Even at the end, we were so gripped by Courtenay's forceful speeches that we expected more.
Colin Hill, as the enigmatic hero, was superb. Dressed in dark clothes throughout, he radiated all the power and mystery necessary for the part. His strong voice and expressive eyes were perfectly used to convey the fiery import of his speeches.
When former sailor Hale (Neal Flux) returned to his native Kent to discover his impoverished parents on their way to the poor house, he joined Courtenay as his right-hand man Mr Flux showed just the right amount of conscience when he advised Courtenay. He gave confidence in moments of doubt and was second only to Courtenay for force and drive.
On the other side of the coin, busily protecting his cushy parish, the Rev Mr Handley (Paul Jennings) was determined to ruin the new crusader. As his congregation dwindled, Mr Jennings managed to show the supposed holy man scrambling to protect himself. His dogged campaign among the JPs eventually led to Courtenay's downfall and it was through him that the death warrant of innocent people was signed.
Handley's partner was a Faversham JP, Dr Poore (Alan English). The two men had a long battle to win the support of two other JPs, Mr Dubois (David Hampton) and Mr Stone (Cliff Williams). David Hampton did well to portray the emotions of a man supposedly a free thinker, but not absolutely sure of his ground. Cliff Williams also coped well with his character - a bumbling JP who did not believe Courtenay threatened his position.
To pinpoint the selfishness of officialdom, Mr Warner introduced two soldiers who were forced to physically remove Courtenay for the squeamish JPs. If Victorians knew of conscientious objectors, then Colin Townsley as Major Armstrong would almost have been placed within that category. His desire to end the affair peacefully was futile.
Within most powerful plays, there are often cameo pieces which serve to support the lead players. Three can be picked from Bossenden. Mr Derek Goulding as Lazarus, a smelly tramp, weaved artfully between his love and his respect for Courtenay. Fay Rose as Daft Boy said nothing, but her gormless expression never failed to portray the idiot boy's image. Making the most of an extremely pleasant voice was Glenys English as the Ballard singer used to link the story together.
Mr Warner's play deserves more than to be hidden in theatrical archives after its premier performance. It should certainly be staged by other repertory companies and its plot is strong enough to warrant either a television or cinema screening.
CT
Bexley Times | 28 October 1976
