The Apple Cart

Training College seldom fails to give us a good play and the "Apple Cart" is no exception. It is most difficult for a group of young, moderately experienced players to sustain the "Apple Cart": it is to all intents devoid of "action" and loaded with ideas. Whether these ideas become explicit or deviate into mere verbiage depends on the players.

To say that they succeeded is not to say that it was an unqualified success. Just as we should judge a painting, as a painting, and not as the work of an aborigine or a long-hair in Chelsea, so should we judge a play. However, realising the peculiar problems of the TC Drama Club we can offer further plaudits.

And so to the play. Shaw baffles us by bombarding us. And the bombardment makes us accept with a laugh what we might question in a less amiable mood. There is a King and Cabinet, an American Ambassador and a mistress. This is the vehicle for Shaw to say what he likes about anything he likes. He prods us into thought and he makes us laugh: The combination is almost irresistible. I feel sincerity is sometimes sacrificed for wit.

The set by Roy Cowan was excellent. After all a play is a play and only those who come purely to forget themselves can cavil at a set which suggests rather than attempts to be "realistic." The lighting was good, but the make-up was sometimes too heavy.

Noel Manhire as Magnus was suave and always at ease. He established an air of dignity consistent with the character from his first entrance and maintained it throughout. As Vanhattan, Max Garvitch delivered the news that "the declaration of Independence has been cancelled," with a delightful drawl and bombastic presence that was both amusing and competent. Boanerges (Klaus Neuberg) gave a good performance of the courageous ignorant but sincere Trade Union boss.

The Cabinet Ministers were a mixed lot. Proteus, the PM (John Forster), gave the impression of the cunning old political stager quite successfully, while Amanda (Baska Goodman) was an amusing and charming confederate. Ross Cotton as a secretary was a little plumish-in-the-mouthish, and Frank Mills looked the right look when he interrupted the boudoir tumble.

Orinthia (Dorothy Hardie) was most inviting, but oh, dear! where was her mirror? [unclear: Lemima] (Alison Drysdale) was a pleasant old frump. Pat Lowe, as the Producer, said all her lines before the play. The result was a good play well done.