series of high poles, a crown atop each, in a semicircle behind a playing area which included a sizable forestage. At the outset these surrounded a throne, later they were hung with ship's rigging, and in the grand finale they supported a great tent. The English were dressed in simple reds and browns and the French in rather ornate blues and whites. The whole created a light, airy, and at times colorful atmosphere for a light, airy, and usually colorless production. The focus of the play is on Henry V, a once reckless youth now attempting to become a vigorous leader. He is young, powerful, impatient, and thoughtful -warrior and lover. But James Ray gave us a weakling-a lightweight, petulant and playful, boyish and uncommitted, whose most successful scene was the interlude with fair Kate. And by this time one had long since lost interest in him. Director Douglas Seale seemed to be much more intrigued by the weird and bizarre in the decadent French court than by the human plight of the common soldier at Agincourt. Around the camp fire the night before the battle Bates, Court, and Williams received clever answers from their disguised ruler: the king is but a man, as I am. . . ." Did Ray smile at the audience? Douglas Watson as the Dauphin created a fascinating study of the haughty, ineffectual, strange psychotic-petted by his mistress and praising his horse. In the battle a body was dragged on stage; the Dauphin then mutilated the corpse. But unfortunately Patrick Hines, the French King, was not equal to the role given him-of ranting idiot and overstuffed buffoon. There were two men on the stage who commanded the listener's attention particularly with their speech: Tom Sawyer as Chorus and Lester Rawlins as Fluellen. Perhaps Sawyer spoke too familiarly, at times with a coyness that called attention to itself, but he understood what he had to say, and felt and conveyed the importance of each line to those in front of him before stepping back into the ensuing tableau. And Fluellen was no caricature. One paid attention to every syllable of an actor who totally impersonated with a real gift for concentration. Each, Sawyer and Rawlins, communicated a sense of understanding what the poet had written for him, and the creation of a character dominated in these instances the pretty scene. Douglas Seale also directed The Comedy of Errors, displaying a rich and fresh imagination for countless gags with Douglas Watson as both Antipholus