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by michael goodliffe as "hamlet" by aubrey davidson houston introduction michael goodliffe was an actor who died in 1976. some of his most interesting achievements were in germany where he was held as a prisoner of war from 1940 to 1945. goodliffe was the archetype of the traditional english actor: educated at st edmund's public school and keble college , oxford university, tall and handsome with a dramatic temperament on and off-stage. his career started in the 1930s with a period in repertory in liverpool . this was followed by a period with the royal shakespeare company in stratford . he enlisted in the army on the declaration of war. this was no doubt done out of a sense of public duty, although he had no military inclinations. he found the written questions during his examination incomprehensible, so he made good use of his artistic skills. he covered his script with drawings of soldiers and tanks. this did not prevent him from being commissioned into the royal warwickshire regiment as a second lieutenant. goodliffe was wounded in the leg in may 1940 during the retreat to dunkirk . he was captured by the german forces (after being reported killed in action - click here for telegram from war office and newspaper obituary ). after recuperating from his injuries at maastricht in holland he was transferred to oflag viid at tittmoning in bavaria: "in 1940 i found myself the only actor prisoner of war in my camp in germany. "put on some shows as soon as you can", i was told by the senior british officer, general victor fortune . we had space for a theatre and unlimited time for rehearsal, but no stage, no lighting, no plays, no musical instruments, no make-up or costumes, very little money, and apart from my fellow pioneers, not many aspirants to stage fame. we had all been shaved completely bald by our captors "as a precaution against lice", and as a final handicap, our diet (mint tea and elderly potatoes) did not leave us with much energy to spare. but by 1945, having moved camp many times, and strengthened by reinforcements from various european dbcles, we were running an organised theatre with a permanent stage staff of carpenters and electricians, a nucleus of about two dozen very competent actors - professional and amateur - and three or four scenic designers. our productions ranged from coward and rattigan to shaw and shakespeare ." tittmoning: theatrical productions the first productions at tittmoning were a number of pantomimes, dramas and sketches produced in 1940. at christmas of that year, goodliffe wrote to his mother: "as i write this i am in the throes of christmas entertainments - i work all day without stopping, except for meals. i get no time to think nowadays. it is very cold and snowy here. the breath freezes on your hair and eyebrows, eyelashes and moustache and makes you look as if you have gone white with age. i could not paint the scenery this morning because the paint froze as i put it on." a shortened version of shakespeare's hamlet was produced at tittmoning. goodliffe played the title role. costumes and make-up were provided by the munich opera house . photographs of this production were taken by a local resident, dr. jung. those shown here are of goodliffe as hamlet with the ghost, played by brian shaw (who became well known for his lectures on explosives ), goodliffe with polonius, played by victor hellaby, and the final scene with george kerr, john mullins, michael burrough, jock hamilton-baillie, andrew biggar and douglas fisher. jock hamilton-baillie featured in a number of subsequent escape attempts. he continued to take on female roles in plays after he was moved to colditz , the pow camp for persistent escapers. see his obituary in the daily telegraph. goodliffe put on other productions at tittmoning. one of these was "wolfenden: a tale of the frozen north" which he wrote and in which brian shaw, andrew biggar, hugh davies and michael burrough appeared. tittmoning: drawings and watercolours goodliffe spent some of his time at tittmoning painting and drawing. he and his fellow officers were held in a picturesque castle at tittmoning in south eastern bavaria. this had been adapted for use as a prisoner of war camp for british army officers. his most memorable works from this period include a pen and ink of the castle and village with a cloud formation in the shape of the british isles. the castle is given a fairy tale quality. the height of the hill on which it is situated is considerably exaggerated (as can be seen by comparing it with a modern photograph - click here ). click here for another christmas card featuring the castle . and here for a drawing of the interior courtyard . one of his water colours shows a view from the castle casement windows onto an adjoining orchard. it gives a vivid sense of how it must have felt to be confined in this mediaeval castle. eichsttt after tittmoning goodliffe was held briefly at laufen, also in bavaria ( click here for a drawing of the prison , formerly the prince-archbishop's palace and now an office block). he was then briefly held in warburg in northern germany. in 1942 goodliffe and others were transferred to oflag viic at eichsttt , north of munich. this camp is depicted in two watercolours by michael yates. one shows a guard post and the other the perimeter fence. there is also a rather idealised watercolour by hc spencer of the main road through the camp. eichsttt was a much bigger camp than tittmoning with better facilities for theatrical productions. goodliffe's fellow inmates included at least 4 other professional actors, dan cunningham, wallace finlayson (subsequently known on the west end stage as wallace douglas), desmond llewelyn and brian mcirvine. llewelyn might have appeared more frequently in these productions, but for his involvement in escape activities leading to his being moved to another camp, biberach . there was considerable escape activity at the camp, which included the preparation of maps of the adjoining countryside ( this one by kenneth macqueen). the best known of these escape attempts was led by the late major-general william broomhall who impersonated a wehrmacht general. the "general" and 4 others posing as an adjutant, a batman and two swiss red cross officials managed to get out of the camp, but were re-captured about half an hour later. the operation was skilfully stage-managed with german uniforms specially made within the camp. this and a number of other escape attempts from eichsttt are described in "south to freedom" by prittie and edwards. similar skills were used for the theatrical productions at eichsttt. "it was a matter of continual nagging, coaxing and organising. timber, electrical fittings, dress materials, paint and costumes, all had to be got into the camp by fair means or foul [a design for one of the costumes, used in a production of "the comedy of errors", is shown opposite. click here for the remaining costume designs]. we were bribing fairly soon and after the first year we became highly organised so that we managed to get most of our requirements sent into the camp by the germans. but certain makeshift devices still persisted. for example we found that excellent three-ply scenery flats could be constructed from red cross parcel crates. dried milk tins, besides their normal uses as chimneys, stoves or tunnel ventilation-pipes, could also be made into reflectors and spotlights. pyjamas of the more exotic designs were often used to make feminine creations." post mortem one of the first plays at eichsttt was "post-mortem", written by noel coward in 1930. it was given its world premire at eichsttt in january 1943 (having never been staged by coward himself) in a production by wallace finlayson. "post-mortem" was a bitter and gloomy anti-war play. it featured a wounded soldier in the trenches during the first world war (played by goodliffe). he is carried forward in time during his dying moments to visit england in the 1930s

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