Photographs from Northanger Abbey, adapted by Constance Cox,
and performed by the Wilson Barrett Company
at the Royal Lyceum Theatre, Edinburgh, 22-27 March, 1954.

Acknowledgement: Glasgow University Library, Department of Special Collections, GB 247 STA MJ PH 93.

Click to view a larger image.

The Allens' lodgings in Bath, where Acts I and II take place.	Northanger Abbey, where Act III takes place.	On settee, L-R: Mrs. Allen, Mrs. Thorpe Behind: Catherine Morland MRS. ALLEN: I don't know that I should allow you to read that kind of novel, Catherine.
Mrs. Thorpe, assuming Catherine is the Allens' heiress, plots John's courtship. MRS. THORPE: When we leave you alone with her, John, you must make the most of your opportunity.	James Morland proposes to Isabella. JAMES: You don't know what I'm about to say. ISABELLA (who knows very well): No — no, of course not.	Capt. Frederick Tilney and Isabella Thorpe ISABELLA: I fear you are a very accomplished flatterer, sir. FREDERICK: I'm an Army man, ma'am. The Army always speaks the truth.
Catherine Morland and Henry Tilney (Catherine has pretended to faint from horror at Henry's description of Northanger Abbey) HENRY (alarmed): Miss Morland — Good heavens, Miss Morland I was only joking. Oh, dear.	General Tilney browses through one of Catherine's novels. GENERAL: ... clever murderers study their details beforehand. Now the stairway in the old abbey is exactly the right width to take a coffin. CATHERINE: How do you know?	L-R: Catherine, General Tilney, Henry, Eleanor GENERAL: It awaits a lady's taste. I trust it won't have to wait much longer.

Program excerpts from the Dundee Repertory Theatre
for Northanger Abbey, adapted by Constance Cox,
Dundee, 28 August-10 September, 1950.

Acknowledgement: Glasgow University Library, Department of Special Collections, GB 247 STA Bc 11.

Click to view a larger image.

Program cover		Cast list		Scene descriptions and other credits

Press cuttings describing the Dundee Repertory Theatre's performance
of Northanger Abbey, adapted by Constance Cox,
Dundee, 28 August-10 September, 1950.

Acknowledgement: Glasgow University Library, Department of Special Collections, GB 247 STA Bc 11.

These newspaper clippings are undated and the newspaper is unknown.

Jane Austen Story on the Stage Bath in 1808. Colourful costumes, pretty speeches, matrimonial manoeuvrings. Such is “Northanger Abbey,” adapted for the stage by Constance Cox. The Dundee Repertory production is illuminated by a sparkling contribution from Virginia M'Kenna. This young newcomer has both looks and ability and is a joy to watch. Playing opposite is John Warner, who had built a reputation when he left the company a year ago and now returns to give a polished performance in a pleasant part. There are unpleasant types in the play, too. How else should we know that the good were good except by contrast with less desirable individuals? Would we appreciate the modesty and charm of young Mr Tilney if we had not the arrogance and boorishness of Mr Thorpe brought frequently before us? And would young Catherine's sincerity and trust be so apparent if we had not the man-eating inconstancy of Isabella for comparison? These essential, if less attractive, roles are vividly portrayed by Antony Oakley and Gwen Vaughan. Geoffrey Edwards, Peter Wigzell and Hilary Mason are best of a well-balanced supporting team. The sets, particularly the title piece of the third act, are a great help in getting the atmosphere for a delightful excursion into the story-book past.

Dundee Repertory

Jane Austen's “Northanger Abbey” must be among the most difficult of works to dramatise. The characterisation and atmosphere of the novel are built up by means of a multitude of tiny episodes separated from one another by periods of time.
Much of its flavour springs from the reader's constant awareness of the amused and appraising presence of the author. It is not easy to transport these delicate qualities into the theatre.
Constance Cox, whose adaptation was performed last night by the Dundee Repertory Company, solved her problem by a generous manipulation of the text, which, if creating effects distinctly broader than Miss Austen's, nevertheless captured to a considerable extent the spirit of the original, and made in itself a piece of witty and attractive entertainment.
Among the characters, Gwen Vaughan, as the fortune-hunting Isabella, came perhaps closest to the novelist's own conception with a sparkling delineation in which, especially in the opening scenes, full value was extracted from every line. John Warner and Virginia M'Kenna were in good form as the hero and heroine; the scene in which the supposedly sinister abbey is described in mock-heroic fashion was, while verging on farce, excellently done.
A.R. Whatmore's production had many adroit moments, and John Burnand's settings, particularly the second, in which the proper atmosphere was admirably conveyed, well deserved the applause they evoked.

He's bait for the husband hunters

John Warner returns to Dundee Repertory Theatre to play bait in the very well done husband hunting comedy “Northanger Abbey” adapted by Constance Cox from the Jane Austen novel.
Virginia McKenna is sweet as the transparent Catherine and Gwen Vaughan contrasts well as her worldly friend.

Period Play at the “Rep”

Last night's Dundee Repertory Theatre production of “Northanger Abbey” (Constance Cox's stage adaptation from the Jane Austen novel) was notable from the patrons' point of view for the reappearance of John Warner, whose ebullience and élan made him such a favourite in the past.
Bath, in June 1808, sees Catherine Morland effectively introducing herself to a presentable young man by accidentally dropping a geranium pot on his head.
Catherine is around 18, naïve and sweet, with a predilection for creepy tales like “Secrets of the Morgue” (from the French). Henry Tilney is a clergyman whose father's home is Northanger Abbey.
Quite the best scene in the play comes at the end of act two, when the Rev. Tilney has the maiden all on edge as, pulling grotesque faces and histrionic gestures, he creeps around snuffing candles one by one extolling the virtues of the abbey storm-bound, the tapestries quivering, and doom lurking in the secret passages. Catherine thereupon throws a gem of a feint!
It's all good, innocent fun, and there's more to come when Catherine is installed within the abbey's grey walls, and the baying of dogs, blood on a pair of hands, and talk of burying bones plays further on the imagination.
Mr. Warner returns with another breath-of-fresh-air portrayal, but the evening definitely belongs to Virginia M'Kenna as the unspoilt darling of the horror stories, Catherine.
Gwen Vaughan is another good 'un, with Hilary Mason as her vinegar faced mama. Antony Oakley has that role he does on his head — the bloated, loathsome period playboy.
Geoffrey Edwards brings discipline to the drawing rooms as General Tilney, but at his first appearance one shrunk from his heavy make-up. Laurena Dewar, Eileen Usher, Myles Rudge, Elizabeth Brush, and Peter Wigzell all lend a hand.
In short, a play with laughs and thrills and good effects. Maybe a wee bit sugary, but one the ladies in particular will love.
Mr A.R. Whatmore produced and John Burnand's sets continue in sumptuous vein.

Untitled Article

“Northanger Abbey,” which runs for a second week at Dundee Repertory Theatre, is proving a success with Dundee audiences. Its lighting effects are pleasing and unusual, and the costumes picturesque.

My comments relating to the play

Return to the Northanger Abbey adaptations page