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Documenting the quest to track down everything written by (and written about) the poet, translator, critic, and radio dramatist, Henry Reed.

An obsessive, armchair attempt to assemble a comprehensive bibliography, not just for the work of a poet, but for his entire life.

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Henry Reed, ca. 1960


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Reeding:

I Capture the Castle: A girl and her family struggle to make ends meet in an old English castle.
Dusty Answer: Young, privileged, earnest Judith falls in love with the family next door.
The Heat of the Day: In wartime London, a woman finds herself caught between two men.


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«  Posts from 13 December 2005  »

Reeding Lessons: the Henry Reed research blog

17.10.2021


In the year 1737, upon receiving word of the impending production of a particularly unfavorably satire of the rule of King George II, British Parliament passed the Theatrical Licensing Act, requiring that
no person shall for hire, gain or reward, act perform, represent, or cause to be acted, performed or represented any new interlude, tragedy, comedy, opera, play, farce, or other entertainment of the stage, or any part of parts therein; or any new act, scene or other part added to any old interlude, tragedy, comedy, opera, play, farce or other entertainment of the stage, or any new prologue or epilogue, unless a true copy thereof be sent to the Lord Chamberlain of the King's household for the time being, fourteen days at least before the acting....
The Act (full-text) called for the Lord Chamberlain and his Examiners of Plays to review and, where necessary, censor potential scripts before they reached the stage, with the intent of protecting the corruptible public. At the time, plays were already restricted to performances in theatres which had been granted royal patents. The Patent Act was repealed in 1843, but the Licensing Act remained intact until 1968.

Reed had adapted Ugo Betti's play, Crime on Goat Island, for the BBC's Third Programme in 1956. His translation had already appeared on the stage in 1955, at New York's Fulton Theatre. In 1957, however, a production was planned for the Oxford Playhouse, which ran into a "spot of bother" with the Lord Chamberlain's Office.

A very helpful gentleman at the British Library, Arnold Hunt, emailed me that the Manuscript Collections contain the original typescript submitted for examination (with the famous blue pencil marks of the censors), as well as additional correspondence detailing the debate over Reed's version of Betti's play. Mr. Hunt writes:
“On 3 November 1957, the Assistant Examiner, St. Vincent Troubridge [a descendant of Lord Nelson], reported that he was not prepared to recommend the play for licence. 'The story of this play, condensed into a couple of sentences, is that to the widow of a Professor living on a remote goat-farm with her daughter and sister-in-law, there appears an attractive young man, claiming to have been friendly with the Professor in a war-time captivity. He proceeds to have sexual intercourse with all these three closely related women in turn, the widow on the first night of his arrival. A few weeks later they murder him down a well. This to my mind is a great deal too farmyard to be permissible in common decency on the public stage.'”
The examiner's synopsis is fair, even if he was taking his responsibilities a bit too seriously (read more about how censorship shaped modern British theatre). The script was eventually deemed "'sordid and revolting,' but not injurious to morals," and the play was granted a license to be performed, hinging on the removal of one passage, which Troubridge described as 'sodomy in reverse, about goats trying to make physical love to their goatherds.' Angelo, the scroundrel of the play, tells a story of how goats in his country sometimes fall in love with their goatherds:
And eventually the shepherd begins to understand, and after a little while they... make love, there in the meadows, pressing close together, closer than a man and woman even. (Act I, scene iv.)
To the credit of his station, the Lord Chamberlain himself, the Right Honourable Lawrence Roger Lumley, 11th Earl of Scarborough, commented "I don't feel very strongly about the ordinary sex part, but I do draw the line at the goats."

(Coincidentally, the composer Donald Swann, who wrote the music for Reed's Hilda Tablet plays, mentions his regret at never having anything of his banned by Lord Scarborough, whom he called a "charming chap.")

Crime on Goat Island opened in Oxford on December 2nd, 1957. The following day, the Times' special correspondent reported weakness in Betti's plot and doubt in Reed's script: "The jealousy between the three women, the division in the household: these are real enough. But as Betti and his translator Mr. Henry Reed handle them they subtract from the interest of the characters instead of adding to it." No mention is made, however, of lovesick goats (The Arts, 3 December 1957, 3).

A history of censorship and its effects on British theatre was published last year: The Lord Chamberlain Regrets: British Stage Censorship and Readers' Reports from 1824 to 1968 (Amazon.com US).


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1532. Vallette, Jacques. "Grand-Bretagne," Mercure de France, no. 1001 (1 January 1947): 157-158.
A contemporary French language review of Reed's A Map of Verona.



1st lesson:

Reed, Henry (1914-1986). Born: Birmingham, England, 22 February 1914; died: London, 8 December 1986.

Education: MA, University of Birmingham, 1936. Served: RAOC, 1941-42; Foreign Office, Bletchley Park, 1942-1945. Freelance writer: BBC Features Department, 1945-1980.

Author of: A Map of Verona: Poems (1946)
The Novel Since 1939 (1946)
Moby Dick: A Play for Radio from Herman Melville's Novel (1947)
Lessons of the War (1970)
Hilda Tablet and Others: Four Pieces for Radio (1971)
The Streets of Pompeii and Other Plays for Radio (1971)
Collected Poems (1991, 2007)
The Auction Sale (2006)


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