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Salient. An Organ of Student Opinion at Victoria College, Wellington, N.Z. Vol. 7, No. 10 October 4, 1944

Films and Stage

page 3

Films and Stage

Review in this issue contain dirty cracks at just about everything and everybody. The doldrums are with us again in films, and Repertory next produces a drawing room comedy. Brightest rays on the horizon is that Rep. intends to produce "Alice in Wonderland" at the end of November and Unity Theatre will do "They Came to a City," by Priestley. This should be something. Williamsons return here shortly with further vapid plays "Kiss and Tell," and "The First Mrs. Carroll." Ho-hum.

At the Shows : Monty Woolley and Gracie Fields are grand in "Holy Matrimoney." "Gung-Ho" tells about the Marine Raiders. "Ali Baba and the Forty Thieves" is in colour. A frightful waste of talent goes on in "The Impostor," where Jean Gabin and Director Jules Duvivier combine to make a very misleading film. And, God save us, another Hollywood bandwagon arrives this week yclept "Follow the Boys," Even Orson Welles is billed as "guest Star."

Our Town

Amidst all the theatrical junk and clap-trap, professional and amateur, served up in the last few years to New Zealand audiences, it seems that the very best and most venturesome efforts are those of the minor theatre groups. Wellington has this year had the enviable opportunity of seeing three absolutely top-flight modern plays, all American—Unity Theatre's "Of Mice and Men," Varsity's "Anna Christie," and Training College's "Our Town." Of these, "Our Town" takes first place, making it, in this reviewer's opinion, the best play produced in Wellington since Thorndike played "St. Joan."

"Our Town" is generally accepted in America as a modern classic. It succeeds in breaking through-every known theatrical convention. It has no story; it is usually presented without scenery; and the characters don't "do" anything.

"Our Town" is small. "Our Town" is the place you go back home to in the Long Vacation, or the small centre of the district where you were harvesting last year. Life is slow—and very quiet. Quietness is the essence of "Our Town." Translate this to America and the beginnings of the century and you have Grover's Corners, New Hampshire.

Simple Presentation

Training College played this touching mirror of our life as it was originally presented in New York. An empty stage and the imagination of the audience were the scenery. But, beyond that, when you produce "Our Town" you must have the audience playing with you—they must be, in themselves, your Doctor Gibbs and Mrs. Webb and George. And that barrier hurdled, you must make sure that your players themselves live their parts. I can think of no play more dependent on this sympathy of both audience and cast than "Our Town." That Training College did it. and did it well, must remain one of its proudest achievements.

Perhaps the best individual performances were those of Pat Cummins as Mrs. Webb and Pat Clarke as Emily Webb. In most amateur shows, you know the people playing, and know that they are only playing. These two went beyond that. For sincerity on the stage, I have never seen a better example than Emily's return to her home after her death her agonised cry "I can't go on." And if ever an audience was moved with a performance, here was one.

Best scene, I think, was that of the funeral in Act III. The most elaborate and expensive sets I've ever suffered with were quite overshadowed by the superb balance of that undecorated stage, on one side the dead, on the other, the mourning townsfolk, turned away, sheltering under their black umbrellas.

The best played scene was the soda-fountain love affair of Emily and George. This could have been made ludicrous, but it was handled most delicately and sincerely by Pat Clarke and David Hempleman. I think the point about all the situations in "Our Town" is that they could have happened to you. There was nothiug grotesque about this immature love scene. George, indeed, was very well played by David Hempleman, and that "great gangling thing" was you and me not so long ago.

Criticisms

Kelso Andrews, as the Stage Manager, carrying the weight of the show, could, perhaps, have been more mature and all-wise. Though he was in general en rapport with his audience, I could not help feeling distressed at times by his over-confidential manner and especially his habit of swaying. But this exacting and unorthodox part must strain the dramatic resources of even the most accomplished actor, and the performance was, on the whole, very convincing.

The women were better than the men, I thought. The women were never Training College students in their annual show. One or two of the men were.

Other criticisms? Maybe Dr. Gibbs looked a bit too young to be George's father. It could be that some of the audience didn't quite grasp what Mrs. Gibb and Mrs. Webb were doing in that breakfast business in Act I. But all 'these, and all the other small faults, were quite unimportant compared with the beauty of the play and the production.

I saw the play twice, and it impressed me more than any play I have seen for a long, long time.

To Catherine Forde as producer, our biggest bouquet for her delicate handling of this most difficult production. To the cast, who obviously believed in what they were doing, another big nosegay. Ana to the TC Drama Club, for their braveness in refusing to select an easy play, congratulations.