The permanent set was effectively simple and functional, giving ample space on stage and allowing the action of the play to flow without interruption. Costumes were colourful, not to say exotic, and must have given the wearers confidence. The lighting provided many chromatic changes, especially in the scenes of 'romance'. The delightfully incongruous musical effects pointed amusingly the changes of mood. Make-up was not overdone and conveyed convincingly and distinctively the diverse roles of the characters.

Without exception the talented cast excelled themselves; secondary and minor parts were never overshadowed by the main characters. The frenzied, hysterical rages of Barbara Millard's Katharina were finely complemented by Lynne Alien's nonchalent, confident, domineering Petru-chio. Carol Alien's exquisitely sentimental Lucen-tio was nicely balanced by the sensitivity and poise of Karen Finney's not too docile Bianca.

Gaynor Diggles captured with assurance the voice, movements and gait of old Baptista without ever sacrificing clear delivery of the lines. Stephanie Simm excelled in her portrayal of Tranio, and her transition from servant to master was accomplished with superb confidence. Gremio's shaking decrepitude was convincingly sustained, complete with Welsh accent, by Stephanie Jones, and made an amusing contrast with Gena Caulton's brilliantly effeminate Hortensio. Gillian 'Needham as the real, and Margaret Forbes as the disguised, Vincentio, vied amusingly for the paternity of Lucentio. The entrances of a permanently alarmed, conspiratorial, bewildered Biondello, played with zest by Janet Edwards, were greeted with expect-ant laughter by the audience. Minor characters were all nicely identified: Lucy McGarrell's athletically pugilistic Grumio; the mutterin.t resentfulness of Barbara Lathom's servant; the terrified gestures and postures of Curtis (Vivien Jones), Philip (Lesley Monaghan) and Joseph (Susan 'Powell), amusingly contrasted with the serene, smiling vacancy of gaze of Hilary McCabe's Peter. Bronwen Davies played Hortensio's widow with robust indignation; Jane Win-Stanley's agonised Tailor, Nerina Sircar's Haberdasher and Olwen Owen's officer were ably rendered.

The producer, Mrs. Traiforos, and her cast fully deserved the warm applause of the audience at the close of the play. Acting and production were completely delightful and were ably seconded by the band of staff and pupils who designed and made the set and costumes, and provided makeup, sound and lighting. The production will be long remembered by participants and spectators alike for its dramatic verve and comic invention.

J.A.K.