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Salient: Victoria University Students' Paper. Vol. 27, No. 13. 1964.

"On Stage!" at Arts Festival—

"On Stage!" at Arts Festival—

Seven short plays in two nights of Arts Festival Drama failed to present anything exceptional other than a fine performance of Harold Pinter's "The Lover," by Otago. The somewhat static nature of most of the plays chosen required a higher standard of acting and production than was forthcoming.

Originally for television, "The Lover" examines aspects of the idea of universality in marriage and explores the dichotomy between the feelings of lust and admiration, of sensual excitement and the dreariness of routine existence. The eternal triangle is startlingly twisted with one actor playing the two roles of husband and lover, resolution coming at the end as the roles are confused and the dual personality merged.

"Sotaba Komachi"

Victoria's entry in the competition was "Sotaba Komachi," a translated and modernised Japanese "Noh" play. The play was concerned with the death of a poet (Paul Maunder) when he recognises beauty in old age. Kristin Strickland, who played the old woman, carried the show. It is hard enough for a nonagenerian to portray a ninetv-nine-year-old let alone a student. Miss Strickland was never ludicrous, always effective.

Murray Rowlands, the producer, did not choose to stick to the traditional stylised presentation; instead it was a mixture, losing something in its indecision. A ballroom sequence with clumsy dancing on a small set would be far more effective if presented stylistically without any pretensions to reality. At times the voice of the old woman changed from young to old without any apparent reason. Paul Maunder's movements were slightly stiff and clumsy, but he played his part sincerely and thus effectively.

Introverted Hippo

Victoria's Contemporary Arts group staged "Santa Claus." by E. E. Cummings. Its production was weak. Nigel Roberts and David Mitchell slouched around the stage as Santa Claus and Death respectively, the former strangely effective, reminiscent of an introverted hippopotamus imitating Marlon Brando. David Mitchell had one hand movement which he practised constantly, and the crowd scenes were lacking in vitality and production.

The play showed the corrupting influence of society on the virtues embodied in Santa Claus. Finally. Santa Claus becomes evil. The play itself had the potential to be most amusing and effective, but opportunities for imaginative production to capitalise on the lines and the useful rostrum set were not taken. Movement especially was bad.

Although the standard this year was higher than last year, and the plays more interesting, the production although competent, lacked real imagination and bold and meaningful use of movement especially.

The opportunity for societies to send a three-act play next year should provide a greater stimulus to producers and actors as well as making available a larger range of suitable plays.

Steve Whitehouse and Russell Campbell.