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Salient. An Organ of Student Opinion at Victoria College, Wellington, N.Z. Vol. 14, No. 11. September 6, 1951

[Introduction]

Ngaio marsh has come and gone, leaving many with mixed feelings as to her ability as a theatrical producer. The question uppermost was: could this detective novelist apply her literary methods to the theatre and get away with it?

In two cases out of three the answer was "Yes."

Beginning with her first presentation, "Six Characters in Search of an Author": this was, as was obvious to all who saw the play, a rebellion by Pirandello against the conventions of the modern theatre—an unusual play. And unusual plays require expert actors and even more expert direction. Pirandello would have been proud in the knowledge that his play was being subjected to such skilful treatment as that of Miss Marsh's.

Basil Henson, as we were to see, was the mainstay of the company in spite of assertions that "there was no starring." On him rested the responsibility of carrying the play along, and this he did with such earnestness and feeling that the audience could ask for nothing better. He had the job of emphasising the wide gulf between actual human sorrow and remorse and that portrayed on stage by the lower-than-average actor.

Mr. Henson's greatest asset was his voice—deep, rolling, and penetrating. Many of his lines were rolled out with great unctuousness.

As a perfect complement to Basil Henson came Brigid Lenihan. Her characterisation of the no-better-than-she-ought-to-be girl, unknowingly seducing her own father, was violent, bitter, and often sensuous.

In contrast to these two stark, characters were the pitiful group of the Mother-Daughter-Deformed Son. Alisa Grahame as the mother over did her anguished sobbings a little, but Lyndsay Johnson and John Unicomb must realise by now how difficult it is to be absolutely inactive on the stage. Aloof from this group was the unrepentant son (Peter Howell), superb in his complete self-centredness.

Completing the cast were Frederick Bennett (the producer), and other members of the company thrown in to make effective grouping. And, in spite of L. D. Austin, John Schlesinger Did mutilate the National Anthem.