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The Spike or Victoria University College Review 1933

"Musical Chairs"

"Musical Chairs"

Despite the bureaucratic attempts of the Executive to constitute themselves the dramatic critics of the College, despite the difficulties of casting people who could give the time, despite the pin-pricking attacks of individuals, officially and personally, the Dramatic Club have again shown an ability to get down to doing something worth while.

The improvement in the choice of play this year is commendable. To those critics who have condemned the play, the only answer is "Well— show us a better!" It is in fact admirably suited to the needs of the Club. The mounting is simple, the characters clear, the dialogue witty and the plot neatly turned. It is open to: he criticism that it does fail in the standards of first page 43 class modern drama, by its lack of fundamental theme.

To-day all drama, as literature, as stage or as talking film must carry an idea, a definite aspect of life and then present the ultimate effect which is caused by the contradictions and struggles of existence. "Musical Chairs" certainly develops the characters. They do not remain static, but the drive behind their actions is not laid bare.

The casting was effective and the team work splendid. The honours of the show go to Miss Ola Nielsen, who as "Irene," gave a very striking performance. Her poise, her stage sense and staccato dialogue made her work artistic and with her keen interpretation, "Irene" really lived.

Redmond Phillips is versatile. His "Joseph" had brilliant patches, but his dialogue had weak-nesses and some unconvincing lines. However his work had intelligence and a real feeling for the part. John Foster's "Mr. Schindler" was the most surprising performance. This newcomer showed that with his fine voice, he will be a useful member of the Club. He will learn that restraint is his best weapon, in spite of his success with the real comic relief of the play, which he handled remarkably well.

Dorothea Tossman as "Anna" the peasant, again showed that she is always capable of bright, artistic and convincing character work. Kathleen McCaul was a triumph of restraint as the negative Mary, and L. S. Tugwell and Marie Prideaux Pridham as "Geoffrey" and "Mrs. Schindler" threw into relief splendidly their counterparts "Joseph" and "Mr. Schindler." The real comedy was supplied by "Mr. Plagett" of the "Express Oil Co." played with a remarkably accurate twang by M. S. Thomson.

Finally, to Mr. Ralph Hogg go the heartiest congratulations for his production. Throughout the play one was conscious of thorough and intelligent planning and above all a clear conception of the characters. One was never in doubt about the people on the stage. This is the most convincing feature of Mr. Hogg's work and the play is a testimony to the real importance of characterisation in any dramatic effort.

A well managed, well mounted, well produced show, this is a return to the standard of the Dramatic Club efforts of a few years ago.