The Man in the Iron Mask

Based on the novel by Alexandre Dumas and adapted by Alison Munro

Directed by Brian Stansbridge

The Maskers Theatre Company presented The Man in the Iron Mask in the grounds of Mottisfont Abbey from Wednesday 13th July to Saturday 23rd July 2005. The show played to full houses throughout the run and was enthusiastically enjoyed by all who saw it.

The Southampton Daily Echo wrote:

Dashing D'Artagnan (Johnny Carrington), love-struck Athos (Albie Minns), impoverished Porthos (scene-stealing John Souter) and Christopher Lee lookalike Aramis (elegant Ian Morley) thwart the plans of the king and his dastardly henchman Reynard (pantomime baddy Rob Praine), successfully putting the right brother on the throne of 18th century France.
Fine costumes, frenzied swordplay and deafening pyrotechnics all contributed to a dramatic evening's entertainment, which was enjoyed to the full by the picnicking audience.
Edward Hounson, Saturdau 23rd July 2005.

Ramblings from the Director:

The Maskers first flirtation with Alexandre Dumas' wonderful, outrageous, swashbuckling characters was in 1996, when Fran Morley directed The Three Musketeers. Ever since then I have often toyed with the idea of presenting our Mottisfont audience with another musketeers' story and now we are. The links with the earlier production should probably be briefly made., Fran's husband, Ian, plays Aramis in this production, I played Aramis in the earlier show and Johnny Carrington was cast as D'Artagnan in both. How's that for continuity!

When I set about finding a dramatisation of Dumas' novel I approached my PC, fingers poised and tapped in a 'Google search' and immediately struck gold - apparently. I found a play called The Man in The Iron Mask by Alexandre Dumas, Narcisse Fournier, and Auguste Arnould. I proceeded to download an electronic copy of the script for $4.50 (a bargain) and set about reading it. About twelve pages in I began to suspect that something was wrong. When would D'Artagnan make his appearance or indeed Athos, Porthos or the Bishop of Varennes (Aramis)? They never did. What is more, the play ended with the tragic death of the prisoner and there were virtually no sword fights. No use at all for Mottisont. A little more investigation and I discovered that Fournier and Arnould had written the play with no involvement from Dumas, but persuaded him to lend his more famous name to boost the chances of success.

Returning to the internet, I found the website of another theatre group, The Company, in Sheffield, who had performed the piece in 1999. I e-mailed them and was put in touch with Alison Monro, who had adapted Dumas' story. She sent me the script and we were off.

Here are Alison's own words on the script:

'Readers of Dumas will soon realise that the title of the play is the same as his book. Some of the characters have the same names. The basic idea is the same. That's about it, though. Dumas killed Constance off at the end of The Three Musketeers and had D'Artagnan embark on an affair with Queen Anne. In this play, Constance is alive and well and as lethally clumsy as ever. There is a criminal shortage of good parts for women in period drama, and I was not about to pass up on Constanced over a mere trifle such as her death in a previous episode. If it bothers you, imagine that Milady only strangled her to the point of unconsciousness, all right? Students of 17th century French history will discover an equal discrepancy between my script and real life. In the latter, Louise de la Valliere was the devoted mistress of Louis XIV and the true love of his life, and the Edict of Nantes was not revoked until 1685. As a history teacher I really ought to know better, but I have never allowed facts to get in the way of a good story.'

I am with Alison all the way and I hope you enjoy this irrevernt romp.
Brian Stansbridge.

Photographs by courtesy of Clive Weeks ( www.cwphotos.co.uk )

Planchet	Ken Hann
Mme. Planchet	Hazel Burrows
King Louis/Philippe	Matt Avery
Anne (Queen Mother)	Avril Woodward
Queen Maria	Sarah Russell
Constance	Sarah Roach
D'Artagnan	Johnny Carrington
Porthos	John Souter
Athos	Albie Minns
Aramis	Ian Morley
Louise de la Valliere	Rachael Courage
Colbert	Harry Tuffill
Reynard	Rob Praine
Percerin	Paul Baker
Lebrun	Richard Hackett
Assistant Tailors	Joanna Iacovou, Alex Austin
Flunky	Bruce Atkinson
Footman	Johnny Hearn
Maids	Chris Baker, Meri Mackney, Angie Stansbridge
Guards	Andy Dennis, Adam Dyche, Johnny Hearn, Andrea Joyeusaz, Phil Nottingham, Adam Taussik
Jailer	Andrea Joyeusaz
Housekeeper	Lyn Austin
Tutor	Tony Austin
Arlette	Hannah Price
Tavern Guests & Bar Guests	Lyn Austin, Tony Austin, Alex Austin
Tavern Boy	Daniel Mackney, Anna Carrington

Director	Brian Stansbridge
Production Manager	Chris Baker
Stage Manager	Angie Barks
Technical Director	Tont Lawther
Set Design	Peter Liddiard
Wardrobe	Serena Brown, Kay Hann, Nina Jensen, Ross Liddiard, Fran Morley
Set Construction	Peter Liddiard, Roger Lockett, Graham Buchanan, David Jupp
Lighting	Clive Weeks, Nathan Weeks
Sound Recording	Geoff Grandy, Lawrie Gee, Steve Moulster
Original Music	Chris Hann
fight Arranger	Paul Benzing
Properties	Ella Lockett, Gill Buchanan, Alison Tebbutt
King's Portrait	Olivia Keith
Iron Mask	Fiona Bartlett
Ball Masks	Sarah Russell, Jackie Foyle
Firearms	John Hamon
Special Effects	Phil Moody
Staging	PRESTECH
Wigs	Showbiz, Southampton
Backstage	Nick Browne, Ralph Bateman, Adrian Davis, David Fancett, Colin Maltby
Publicity Design	John Hamon
Programme	Brian and Angie Stansbridge
Photography	Clive Weeks
Signage	Ken Spencer
Front of House	Julia Jupp, Pam & Geoff Cook and teams
Box Office	Turner Sims Concert Hall, National Trust supported by Emma Carrington, Sheana Carrington, Pam Cook and teams at Mottisfont