Richard of Conisbrough: Conisbrough Castle, #5

By Christopher Webster

Richard of Conisbrough was born in Conisbrough Castle only a few hundred yards from the author's family home in Castle Avenue, and of all the great noblemen who owned Conisbrough Castle, he was the one who spent most time there. Rather than tell his story in novel form, as the author has done with other castle characters, he has chosen to tell it in the form of a play in the style of William Shakespeare. Richard's story is well-suited to a play in this style of William Shakespeare as it is a prequel to the story of Richard III. Part of the subject matter, the Southampton Plot, was treated by the bard in his play Henry V, and the main character is typical of many 'bastard' malcontents of Elizabethan drama, such as Don John in Measure for Measure. It is, of course, nowhere near up the the standard of the Bard, but there are some felicitous passages (mainly stolen from him), and those who know and love Conisbrough will appreciate this retelling of Richard's story.

• Language: English
• Publisher: EKP
• Release date: May 19, 2024
• ISBN: 9798224156931

Christopher Webster

In Conisbrough, in the West Riding, I spent most of my childhood, where there's an old castle, presiding over the local neighbourhood. The castle teased me with its mystery and got me interested in history. Later, at University, I took a Literature degree, choosing an option on Jane Austen and Regency Society, and also one on poetry: worlds which I loved to get lost in – and now I show appreciation by trying my hand at narration.

Book preview

EPIGRAPH

O for a Muse of fire, that would ascend

The brightest heaven of invention,

A kingdom for a stage, princes to act

And monarchs to behold the swelling scene!

Then should the warlike Harry, like himself,

Assume the port of Mars; and at his heels,

Leashed in like hounds, should famine, sword and fire

Crouch for employment. But pardon, and gentles all,

The flat unraised spirits that have dared

On this unworthy scaffold to bring forth

So great an object.

—HENRY V, William Shakespeare

INTRODUCTION

Thirty years ago I went to watch a performance of a Shakespeare play at Sheffield Playhouse. I was horrified when the characters walked onto the stage wearing modern suits. It turned out that I had come on the wrong night and that the play was actually The Importance of Being Ernest. Nevertheless, I have seen Shakespeare plays acted in all manner of inappropriate costume, and it is a fashion which still blights the stage today.

If this play is ever performed, I hope that the costumes will at least approximate to those of early fifteenth century England. The scenery can be minimal. A backdrop depicting a stone wall with a hint of castle about it (for example, a parapet), an arched window and a door should do it. The door is important because Peter is often hovering on one side of a door or another.

My ideal performance would take place in the Conisbrough Castle bailey in the son et lumière style. Rows of temporary seating would be set up facing the keep, and a small stage erected at the bottom of it. The keep steps, the upper windows, the top of the keep, and parts of the wall walk (if allowed by Health and Safety busybodies) could be used for parts of the performance, each area picked out by spotlights as appropriate.

The play is part of my series about the history of Conisbrough Castle, which includes Crusader, Allan-a-Dale and Adela, The Squire and the Lady, The Poet and the Castle, and concludes with Conisbrough Castle, a history of the castle from an author’s perspective.

The story of Richard of Conisbrough is well suited to a play in the style of William Shakespeare. Part of the subject matter, the Southampton Plot, was treated by the bard in his play Henry V, and the main character is typical of many ‘bastard’ malcontents of Elizabethan drama, such as Don John in Measure for Measure.

Another reason for choosing the form was that I was teaching Richard III to an Advanced Literature class, and in an unguarded moment, boasted that I could write a similar play. Well, this is it. If there are any similarities, it is because I ‘borrowed’ a few lines (OK, more than a few) from my favourite Shakespeare plays.

As it happens, the story of Richard of Conisbrough is a kind of prequel to the story of Richard III, because he is a direct descendant through his son, Richard of York.

I enjoyed writing it, though it is unlikely ever to be performed. Perhaps if I were a teacher at the De Warenne Academy in Conisbrough, I could make it happen, but as the school where I am teaching at present is 6,740 miles away, that is unlikely.

However, if my dream performance in the bailey of the castle is ever staged, don’t forget to invite me!

Christopher Webster, July 2016/2024

DRAMATIS PERSONAE

PETER – a page, who also acts as the chorus (a fictional character).

CONISBROUGH/CAMBRIDGE – Richard of Conis-brough, later the Earl of Cambridge.

SERJEANT GOODLAD – Serjeant-at-arms of Conis-brough Castle (a fictional character).

TOM, DICK AND HARRY – men-at-arms of Conis-brough Castle (fictional characters).

KING HENRY IV – King of England from 1399 to 1413.

LADY ELEANOR – Eleanor Holland, Countess of March (1370 – 1405).

ANNE – Anne de Mortimer, Countess of Cambridge (1390 – 1411).

MEG – a kitchen maid at Hereford Castle (a fictional character).

FITZ HUGH – Henry FitzHugh, Bishop of Bath.

GREY