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The White Falcon is a typical example of a BBC television play from the
mid-1950s. It tackles a historical subject and had already been performed on
stage and for the BBC's Home Service. As such it is perhaps surprising to find
it produced by Rudolph Cartier, whose antipathy to such conventional material is
well known.
Writing in the Radio Times, Cartier explained the play's appeal, praising how
the drama portrayed the affair between Henry VIII and Anne Boleyn "in an
up-to-date, one could almost say 'cinematic' manner. First of all, the dialogue
is in a fluent and modern prose. All the characters speak a language everybody
can understand; nobody uses 'Methinks' or 'F'sooth,' or similar archaic words,
and together with a romantic, light-hearted treatment, the well-known story is
divested of all the heaviness of a 'historical costume drama'." It is true that
the play is easy to follow and more accessible than many, older, attempts at the
same subject. Even so, it is perhaps telling of the play's debt to the stage
that Cartier cast Paul Rogers as the King and Jeannette Sterke as Anne, having
seem them play the same characters in Shakespeare's Henry VIII at the Old Vic
theatre.
Unlike Cartier's trademark work, the play is unusually confined, taking place
in just five modest sets over the course of six scenes. Cartier's suggestion
that the story receives a 'cinematic' treatment is perhaps over generous. The
producer does, however, include two elaborate dance sequences, making use of 22
carefully choreographed dancers, giving the otherwise sedentary play a lift
around its centre point. His production is well polished, with only a few of the
most minor line fluffs, camera bumps and instances of unwanted studio noise, all
common for the period, betraying the play's live nature.
Jeanette Sterke as Anne Boleyn is particularly notable among a strong cast,
moving from the frivolous young maid of honour at the beginning of the play to
the proud and embittered queen, facing death for alleged adultery at the end.
Her confrontation with the king, in which she accuses him of being a puppet
ruler, is the play's most powerful and arresting scene. The cast is also notable
for comprising a virtual Rudolph Cartier repertory company, with nearly all
appearing in many of his other plays. Sterke acted in at least 10 productions
for Cartier, Cyril Shaps in 15 and Rupert Davies 11.
Oliver Wake
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1. 'Such a woman' (3:26)
