Travesties [antikvár]

HENRY WILFRED CARR, 1894-1962 The reader of a play whose principal characters include Lenin, James Joyce and Tristan Tzara may not realise that the figure of Henry Carr is likewise taken from history. But this is so. In March 1918 (I take the following information from Richard Ellmann's James Joyce), Claud Sykes, an actor tem- ? porarily living in Zurich, suggested to Joyce that they form a [ theatrical company to put on plays in English. Joyce agreed, ^ and became the business manager of The English Players, the first production to be that of The Importance of Being Earnest. [ Actors were sought. Professionals were to receive a token fee of 1 30 francs (24 shillings at the current rate of exchange) and • amateurs to make do with 10 francs for tram fare to rehearsals. Joyce became very active and visited the Consul General, ; A. Percy Bennett, in order to procure official approval for the Players. He succeeded in this, despite the fact that Bennett "was annoyed with Joyce for not having reported to the Con-sulate officially to offer his services in wartime, and was perhaps ' aware of Joyce's work for the neutralist International Review r and of his open indifference to the war's outcome. He may even have heard of Joyce's version of Mr. Dooley, written about this f' time . . —I quote from Ellmann's superb biography, whose companionship was not the least pleasure in the writing of Travesties. Meanwhile, Sykes was piecing together a cast . . . "An ? important find was Tristan Rawson, a handsome man who had sung baritone roles for four years in the Cologne Opera House but had never acted in a play. After much coaxing Rawson agreed to take on the role of John Worthing. Sykes II i-