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Salient. An Organ of Student Opinion at Victoria College, Wellington, N.Z Vol. 7, No. 9 September 13, 1944

Anna Christie — Drama Club Major Production

Anna Christie

Drama Club Major Production

Act 1.

In August the Drama Club achieved a three night show of a full length play for the first time since 1941. The play chosen, "Anna Christie," by Eugene O'Neill, was an interesting one. Despite the fact that the play's setting was remote from the experience of New Zealanders, nevertheless the very human problems involved and fine drama gave scope for acting.

The caste was fairly strong, I say fairly advisedly, for while no member of the caste was incompetent they were all open to criticism, and indeed in view of our long silence in drama it would be surprising were this not so.

Derek Rose had made very satisfactory use of the room on the stage in setting this scene. The opening was adequate and the entrance of Sybil Reynolds put the whole production on a higher level, she gave a grand performance and was brave in her showing of a tough part in costume, makeup and voice. Edith Hannah made a good entry and sustained her part well throughout the act; the dialogue between her and Sybil Reynolds was notably one of the best parts of the play. The pace throughout the act was bright. The minor parts were satisfactory enough—though we thought Derek Rose's performance as barman reminiscent of his part in the recent one act play as the "Terror of the Goths."

Act 2.

The barge scene made excellent use of the stage space, the set-up and lighting were flawless and the atmosphere of fog and eerie distance was surprising. Anna was still good but the hard overtone in her voice became tiring and monotonous through overuse in the second and third acts, but nevertheless it was a convincing portrayal.

Campion, making his appearance as Matt, had a fluent but abominable brogue, no doubt acquired in his fifteen years at sea. The pace was sustained and the atmosphere good. They lost the audience once only and that probably because, as amateurs, the audience were familiar with them in their ordinary lives and manners.

Act 3.

This was a tough scene to put over. First the kicks—why did Matt find it necessary to claw his hands the whole time? It was awkward and added nothing to his character. The same applied to Chris, his stoop tended to become his only real attempt at character. Campion in the full lighting gave a more convincing and sincere portrayal of Matt and he gave a very fair rendering of silent grief and anger. The clash of Chris and Matt, first against each other and, following the explosion from Anna which brings down their castles about their ears, against Anna, was well built up. It was Anna's big scene and well done; the hurt and bitterness in her came through every word and gesture.

We should congratulate the Drama Club and their producer. The play was not perfect, their audiences were too small, but it was a worth while venture and a big step forward for the club.

In spite of a recent denial we again assert that rumour is a lying jade. The following completely unauthenticated story has been brought to our ears: That well-known personality, Professor Boyd-Wilson, while returning from a jaunt with the local Alliance Francaise, and speaking he believed the appropriate language was plaintively requested by a fellow traveller to refrain from speaking Maori, as he, the plaintiff, had a deep distaste for that language. In reporting this we wish to state that we have no wish to disparage the Maori language.

—Q.E.D.