Written around 1529, printed in 1533.
Cast of Four:
The FRIAR
The PARDONER
The PARSON
Neighbour PRAT
Perfect for student or fringe production, running at approximately 30 minutes without a break.
Our Production: Full cast audio adaptation - with Rob Myson as the Friar and Heydn McCabe as the Pardoner. Also featuring Robert Crighton as the Parson and Simon Nader as Neighbour Prat. Additional voices by Michael Fouldes and Andy Piper. We're also looking at doing the play live, because that is the natural home for it.
If you'd like to read the text of the play there's a facsimile of the original printing here and a modern spelling edition of the play here. NB: there are a few errors and oddities in this edition, but it's close enough for mustard.
As per usual, our production text was cross referenced between various editions, which are reasonably plentiful for this play. That said, we don't think there are currently any easier to use modern spelling editions to work from - if you're interested in staging the play, we're happy to share our rehearsal script, if it is of use.
The cast is all male, but there is no particular reason why the genders should not be changed for modern productions - the only character with a name is Prat and his pronoun is a nicely generic neighbour, so play about.
Setting: A church before the Reformation. The play is a satire of certain practices of the church, the abuse of power, the selling of relics, the competition between different orders. That said, the play would survive a more modern staging - it is inherently playful, not strictly realistic.
Plot and Character: The Friar enters and appeals for alms, then gets on his knees to pray - presumably with his donation receptacle before him. His act of piety also a ploy to get money. This is interrupted by the arrival of the Pardoner who stands on a stool and starts flogging access to his holy relics - pretty mangy ones at that - for which act he claims he has a Papal dispensation to do. The Friar then stands and begins his patter again, but the Pardoner speaks over him. The two continue to talk to the crowd over each other, occasionally stopping to argue with each other, getting increasingly annoyed. Eventually they come to blows, the Parson and neighbour Prat coming in to break them up and expel them from the church. In the end the Pardoner and the Friar join forces to beat them up instead and leave together. The play is deceptively simple, but brilliantly structured, the overlapping arguments fitting together perfectly, allowing for play and give and take between the two protagonists.
Perfect for student or fringe production, running at approximately 30 minutes without a break.
Our Production: Full cast audio adaptation - with Rob Myson as the Friar and Heydn McCabe as the Pardoner. Also featuring Robert Crighton as the Parson and Simon Nader as Neighbour Prat. Additional voices by Michael Fouldes and Andy Piper. We're also looking at doing the play live, because that is the natural home for it.
As per usual, our production text was cross referenced between various editions, which are reasonably plentiful for this play. That said, we don't think there are currently any easier to use modern spelling editions to work from - if you're interested in staging the play, we're happy to share our rehearsal script, if it is of use.
The cast is all male, but there is no particular reason why the genders should not be changed for modern productions - the only character with a name is Prat and his pronoun is a nicely generic neighbour, so play about.
Setting: A church before the Reformation. The play is a satire of certain practices of the church, the abuse of power, the selling of relics, the competition between different orders. That said, the play would survive a more modern staging - it is inherently playful, not strictly realistic.
Plot and Character: The Friar enters and appeals for alms, then gets on his knees to pray - presumably with his donation receptacle before him. His act of piety also a ploy to get money. This is interrupted by the arrival of the Pardoner who stands on a stool and starts flogging access to his holy relics - pretty mangy ones at that - for which act he claims he has a Papal dispensation to do. The Friar then stands and begins his patter again, but the Pardoner speaks over him. The two continue to talk to the crowd over each other, occasionally stopping to argue with each other, getting increasingly annoyed. Eventually they come to blows, the Parson and neighbour Prat coming in to break them up and expel them from the church. In the end the Pardoner and the Friar join forces to beat them up instead and leave together. The play is deceptively simple, but brilliantly structured, the overlapping arguments fitting together perfectly, allowing for play and give and take between the two protagonists.
Modern Staging Suggestions: Site specific would be an obvious way to go, but otherwise this play can be performed anywhere. An actual church, with difficult acoustics, might work against the play, so a deader space might be preferable. Unlike Heywood's debate plays this has a clear setting which can be indicted through action and dialogue, though with some set if desired.
Comparison with other Heywood Plays: This was the second play we recorded with our Heywood company, though the third we've produced. It was immediately embraced by the cast who found it a joy to perform, especially following the tougher text of Witty and Witless. It feels like a natural cousin to John John, with firm place and action, as well as clear comic thrust - they would make a good double bill as a one act show - running together at around 70 minutes. Whilst it covers similar ground as The Four Pp (yet to be recorded, so this assessment is perhaps premature) it is a more theatrical event.
Issues: Presenting this play as audio was difficult as it's inherently theatrical. The audiences attention is vied for by the two principle performers. That said, we were also glad that we didn't need to learn the play - it's incredibly difficult to get right. If you're staging it, make sure you get the text to your actors early so that they can be comfortable (i.e. know it) before they start to rehearse. They'll be taking their cues from each other as well as saying their lines - at the same time. It is only to be attempted by actors who are good with lines. About-right-it'll-do acting will not suffice unless you're playing Prat.
History: We know that this play has a modern performance history, but haven't come across many references to shows. If you know of any performances, past/present/future, do let us know. And if you're thinking of having a go at the play - please get in touch. We'd love to know about your take, and to help archive it if we can. We don't want to see just one production of any play, we want multiple takes out there.
His Previous Play: On Gentleness and Nobility - which is in production now.
His Next Play: The Four PP - which we'll get to later in the year.
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