“A fantastically good script by playwright Simon Corble…his lovingly crafted verse version preserves both the alliteration and the north midlands dialect in places, without ever sacrificing clarity or drama. Truly an inspiring feat and one that almost moved me to tears by the final quatrain.” - from a 2014 review by Dr. Andrea Hopkins, of Oxford University, theatre reviewer and author on Medieval literature, art and romance.
The Boar's Head Carol - from the original 1992 promenade theatre version for Midsommer Actors' Company. Beeston Castle.
Deeply inspired by reading the narrative poem in its original form, in 1991 I set about creating a theatrical version of the tale that would carry its flavour, its grit, its North-west of England accents and its simply beautiful textures. The mythical power of the central story, with its beheading, Sir Gawain's quest, his trials and temptations needed no elaboration. I was writing for a promenade form of theatre, however and for a production that would be staged throughout the Summer of 1992…
Many years later, I had the chance to work on the play afresh, for an indoor production, with an audience in-the-round and staged at mid-Winter (when most of the action is set). This 2014 version really gets to the heart of the story, for me, (as you read it did for the well-qualified reviewer in Oxford) it plays up the power of the natural world and the season around Christmas and New Year, while preserving what was powerful in my original version – the language, the physcial rough-and-tumble and the all-important music.
I came to see what I was creating as, almost, ‘a medieval musical’ – that is a ‘musical’ supposing the 14th/15th centuries had such a term. The alliterative style of verse I was using, was not only the same as the original poem, but identical to the form in the Medieval mystery plays and we had sourced all of the music from those centuries too.
Many years later, I had the chance to work on the play afresh, for an indoor production, with an audience in-the-round and staged at mid-Winter (when most of the action is set). This 2014 version really gets to the heart of the story, for me, (as you read it did for the well-qualified reviewer in Oxford) it plays up the power of the natural world and the season around Christmas and New Year, while preserving what was powerful in my original version – the language, the physcial rough-and-tumble and the all-important music.
I came to see what I was creating as, almost, ‘a medieval musical’ – that is a ‘musical’ supposing the 14th/15th centuries had such a term. The alliterative style of verse I was using, was not only the same as the original poem, but identical to the form in the Medieval mystery plays and we had sourced all of the music from those centuries too.
Three moments from the 1992 tour - Merlin takes us through the seasons; the Annointing of Sir Gawain; Morgan le Fay en route to Camelot
So, the fully revised version of the 'musical play' needs a minimum of eight* actor-musicians, all of whom should sing well, do convincing North-west accents - and most should play an instrument. It can be staged in almost any environment, (in-the-round is the ideal) as the scene is set largely through the words. The most recent production used large cardboard puppets for the Green Knight and various animals, which was highly effective and theatrical. There is great scope for physicality and even clowning, too; there is comedy woven through the action, in just the right places and there are whole sequences where a chorus speaks, or 'The Hunt' takes on a group personality, while individual voices still shine through.
(*There are creative ways with fewer actors, but eight is an ideal to create the atmosphere).
(*There are creative ways with fewer actors, but eight is an ideal to create the atmosphere).
"The wilderness of the Wirral!" Two Scouse bandits stop Sir Gawain in his tracks...from the 1992 production, Beeston Castle, Cheshire.
The script is, as yet, unpublished, (but watch this space as it is one of my priorities to see it properly in print at long last) - if you would like to read it with a view to producing the play, or simply for research, then please do contact me. The photo below is from the Cardboard Citizens' production, the O'Reily Theatre, Keeble College, Oxford, 2014, with the audience on two sides.
The Lady Alison tempts Sir Gawain...this section of the script is below:
ALISON: Now forsake you this silk - forsooth? I suppose,
In itself it is simple; at least, it seems so.
Lo! It’s so little; the least thing of worth.
But if a man were made ‘ware of the magic herein,
Then pr’aps he would prize it expensive and rare.
GAWAIN: Magic? What magic do you mean, my lady?
ALISON: If a guy is girded with this green lace,
As long as he clasps it closely about him,
No arm on earth may hack him to death
With steel, nor slay him, by sleight, at all.
In itself it is simple; at least, it seems so.
Lo! It’s so little; the least thing of worth.
But if a man were made ‘ware of the magic herein,
Then pr’aps he would prize it expensive and rare.
GAWAIN: Magic? What magic do you mean, my lady?
ALISON: If a guy is girded with this green lace,
As long as he clasps it closely about him,
No arm on earth may hack him to death
With steel, nor slay him, by sleight, at all.
“Inspiration obviously dropped on writer/director Simon Corble like manna…a delightful mix of hearty modern idiom and extremely pleasing verse, that captures the rhythm and dialect of the original with great cheer and sensitivity.”
Francesca Turner in The Guardian; a review from the 1992 production.
Click here or any picture for an album of photographs, mostly from 1992.
Francesca Turner in The Guardian; a review from the 1992 production.
Click here or any picture for an album of photographs, mostly from 1992.
Merlin draws a pentangle on Sir Gawain's shield with fire, before the quest to find 'The Knight of the Green Chapel' - the original 1992 production
