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directed by HENRY HALL
(All Nationals except Daventry)

5.15 (Daventry)
The Children's Hour
'Witchcraft'
A Play by ARTHUR DAVENPORT
THERE'S to be a party, and Alan positively refuses to go unless he can get rid of some warts on his hands, and he isn't going to wear gloves. Something has to be done about it, and he tells his brother and sister he is going down to Coffin Hollow to see what Mother Beesom can do. They advise him not to go. Why, the village says Mother Beesom is a witch. He says there are white witches as well as black witches, and he's jolly well going. Of course they go with him. She'll probably turn him into a bat, he says, but he would rather go to a party as a bat than as the Warty Wonder of Wodensbury.
The old woman inhabits a cottage in the woods, and jays nest round it. Will they get there before dark ? They meet old Scratchery, who warns them. She daren't go abroad. The Pixies-the little folk-bring her evil groceries. He's seen them. But the children decide to go on. Dusk falls. It's very eerie down in Coffin Hollow. The yew trees are so black and gloomy. And a crow calls. They are more than a bit afraid as they approach the cottage. Yew trees and churchyards. Down they creep to the door. An owl hoots and a cat miauls. There doesn't seem to be a door, it's a!l ivy. Through a hole in the ivy they see the glare of a fire, and a voice— surely not an old woman's, but a young girl's—begins singing. How strange ! The old woman lets them in. They gather in the chimney by the great fire. Like them, you'll simply have to listen.
(Continued overleaf)

Contributors

Directed By:
Henry Hall
Play By:
Arthur Davenport
Play By:
Alan Posi
Unknown:
Mother Beesom
Unknown:
Mother Beesom

Scene: In an Attic
Cast in order of appearance
Conductor, GINO MARINUZZI
Producer, Dr. OTTO ERHARDT
Chorus Master, ROBERT AINSWORTH
Relayed from The Royal Opera House,
Covent Garden
PUCCINI'S Bohemians, taken from
Murger's novel of Paris life, were Colline, the great philosopher ; Marcel, the great painter; Rudolph, the great poet, and Schaunard, the great musician -inseparable comrades. At their favourite haunt, the Cafe Momus, they were known as ' the four Musketeers '.
The scene of Act I is the garret which they share. It is Christmas Eve and bitterly cold ; there is no fuel for their stove. Marcel offers to burn his picture, ' The Crossing of the Red Sea', but Colline and Rudolph object that the smell would be too unpleasant, and Rudolph nobly sacrifices the manuscript of a tragedy, burning it act by act. As its feeble warmth vanishes, errand-boys come in with food, drink and fuel, followed by Schaunard, who is in funds ; he has found a generous patron.
They proceed to toast each other in the unlooked-for wine, when their landlord, Benoit, appears to demand his overdue rent. They make him drink with them and chaff him, turning him out half tipsy, and then Schaunard insists that the occasion demands a festive meal at the cafe.
Rudolph has an article he must write and stays behind, promising, as the others go out, to follow soon. It is then that Mimi enters, a pale and fragile girl, who introduces herself as a neighbour, asking for a light for her candle. Rudolph and she are at once attracted to one another. ' Your tiny hand is frozen ', he sings, and ' They call me Mimi ', she tells him-two of the best-known pieces of melody in the opera. The voices of the others are heard without, calling Rudolph to join them, and, with Mimi's arm in his, they go out together, confessing their love for one another.
An article on the opera is on page 593.

Contributors

Chorus Master:
Robert Ainsworth
Marcello, a painter:
John Brownlee
Rodolfo, a poet:
Dino Borgiolli
Colline, a philosopher:
Fernando Autori
Schaunard, a musician:
Aristide Baracchi
Benoit, a landlord:
Octave Dua
Mimi:
Eide Norena

National Programme Daventry

About National Programme

National Programme is a radio channel that started transmitting on the 9th March 1930 and ended on the 9th September 1939. It was replaced by BBC Home Service.

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About this data

This data is drawn from the Radio Times magazine between 1923 and 2009. It shows what was scheduled to be broadcast, meaning it was subject to change and may not be accurate. More