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Salient. An Organ of Student Opinion at Victoria University, Wellington N.Z. Vol. 22, No. 10. September 14, 1959
From the Theatre
From the Theatre
On the first night of the Drama Festival, two modern controversial plays were produced. They were Jacques, Or, Obedience", by Eugene Ionesco, and "Endgame", by Samuel Beckett. The judge, Patric Carey [unclear: ommended] Auckland and Victoria respectively on their choice of theatre.
With or Without Jackets?
Jacques, played by Simon Hart, wants his fiancee to have three noses, but execrates potatoes in their jackets. The erotic dialogue between him and the tri-nasal Roberta (Margaret Blaylock) is characteristic of the play's emotive content, conveyed by words, meaningless normally, but which derive meaning from their sound and give the audience a phonetic impression of heightened emotions.
Simon Hart, as Jacques, had a small speaking part, but played it well, giving [unclear: good] support to Margaret Blaylock, who [unclear: andled] her part sincerely. Her invita[unclear: ion] to love was particularly well pre[unclear: sented], despite Ionesco's difficult style. [unclear: Producer] Gabriel Prendergast is to be [unclear: congratulated] on his courageous and [unclear: intelligent] production.
Nobody Comes
"Endgame", by one of this century's most controversial playwrights, the author of "Waiting for Godot", Samuel Beckett, was presented by a cast from the Victoria University of Wellington, under Producer Bob Kerr.
Endgame is a most unusual play. It has no plot, and is set in a room bricked in on every side. The principal character is blind and cannot move from his wheelchair. He keeps his parents in rubbish bins, and is looked after by his son, the only mobile member of the cast.
Endgame is horrifying theatre, but interest is maintained by clever use of comic and sentimental dialogue.
Beckett writes plays of the spirit, of "man's inhumanity to man," and in Endgame he depicts the end of the world. Although life for Beckett is disillusionment, the play does not end without a ray of hope.
Michael Hattaway gave a good inter-preation of Clov, showing depth and sincerity in his acting. John Trotter as Hamm, the blind central figure of the play, gave an excellent performance, displaying good verbal dexterity within his lines.
The adjudicator criticised the production on two points, the use of continuous background music, impinging on the action of the play, and the obscure lighting used. He thought that the production was incomplete and not concise, but all credit is due to Victoria for their ambitious choice of play.
"Annoyance in the Theatre"
Canterbury University's "The Inca of Perusalem", written by G. B. Shaw and produced by Murray H. Alford, was presented on the second night of the Drama Festival. It was in complete contrast to the previous night's productions. When first produced, this play was not well received, owing to the author's frank treatment of totalitarianism and democracy.
The adjudicator said, however, that "annoyance was essential in the theatre." Shaw's great command of English prose made good acting material, and pace was essential. He felt that the Canter-bury cast had achieved only a one dimensional pace, with no variety within the lines.
The whole play needed more care and a closer study of the context, and Mr. Carey was critical of the lighting effects.
The production was redeemed by the sincerity and characterisation of Barbara Jones' performance as Ermyntrude. Aileen Payner, as the Princess, and Max Hickey, as the Inca, played their parts capably.
The Wild Colonial Boys
Noel Coward's scintillating comedy "Hands Across the Sea" was presented by Otago University under Producer Michael Gill.
The dialogue is witty and brilliant, and makes great demands on the actors in both pace and timing. Its difficulty lies in the integration of two sets of conversation, and in maintaining action on the stage. The Otago cast overcame these difficulties admirably.
Helen Aldridge gave an excellent performance and was ably supported by Yvonne Looney as the forthright Clare Wedderburn. The general impression was of a polished performance.