part and, especially in the trial scene, Antonio's resigned acceptance of his destiny as 'the tained wether of the flock' is often turned into querulous self-pity. The real direction of Neville's talents is shown in his delightful and consistently amusing portrayal of Old Gobbo. C. Ley, as young Launcelot Gobbo, has a delicate humour admirably suited to this type of Shakespearean clown and a stage presence remarkable in such a young performer. One striking feature of the production was the strength and assurance of its female cast. Jennifer Peverall as Portia combined sweetness and sparkling wit with a dignity which even in her lightest moments never made her seem less than the Lady of Belmont. Her natural rendering of the 'quality of mercy' speech,: to which it is so difficult to bring any freshness, was particularly good. Christine Rouse, as Nerissa, was a good foil to Portia. Her assurance increased as the play got under way and her expressive looks at her husband in the trial and the last scene were delightful. Jill Brearley, as Jessica, shared with Jennifer Peverall a clear, carry ing voice that was never harsh nor shrill. She played Jessica with a warmth and vitality that won us from the beginning, so that we accept the desertion and robbery of her father with very litttle uneasiness. The young Venetian lovers, Bassanio, Gratiano and Lorenzo, manage to convey the lightheartedness of the sunlit Christian world of Venice, in sharp contrast to the dark and cheerless Jewish world. Bassanio played by I. Barrs, tended to be rather nervous of the more emotional passages, but on the whole gave an attractive and dashing performance. Lorenzo and Gratiano were played with boisterous good humour by G. Allsopp and J. Steggel. Gratiano's honest, simple personality came over particularly well in the trial scene, as with mounting delight he turns Shylock's praise of the 'wise young judge' against him. . . . The producers have tried to suggest the crowded life of Venice by filling the sets with attendants and onlookerss. This device succeeds because every person on the stage is always occupied, though sometimes the carefully worked out formality of the groupings gives the production a somewhat static quality. The meaning of every word is fully brought out, but again this slows down the pace of the play as a whole. It was a good idea to give Portia's suitors a retinue whose bearing and gestures emphasised the personality of each one, and D. Pender as the Prince of Morocco and G. Charnock as the Prince of Arragon carried off their scenes effectively. The varying moods of the play are underlined by the music, prepared by Mr. R. White, by Miss Luk's gracefully performed masque, which the dancers performed with accomplished assurance, and by the lighting. The slow closing of the spot on Shylock's hands as he caresses the knife at the end of the first part and the 58 sudden change from the brilliantly lit Belmont scene to the darkened tableau of Antonio's arrest particularly help here. The rich, sombre, professional-looking settings, designed by Miss P. M. Newton, add to the overall unity of the production, and the swift and complicated scene changes are managed smoothly to provide the contiuity essential in a Shakespearean production. A First Night Visitor. STOP PRESS The Chess Club Competition was won by : J. Hanson, IVC. WHITSUN SERVICE, 1963 The Whitsun Service, held in the School Hall on Thursday, May 30th, was conducted by G. N. Allsopp. The first hymn, "Come down, O Love Divine", was followed by verses from the Acts of the Apostles read by Ruth Day and R. G. Rowell. The school sang "Come Holy Ghost, our souls inspire", after which the Headmaster led the Prayer. P. West read from the Epistles to the Romans and to the Corinthians, and there followed the hymn, "Gracious Spirit, Holy Ghost". The address was given by the Rev. K. G. Bloxham, B.D., who gave the Benediction when the school had sung the hymn, "He who would valiant be". 59