"Salient" At Tournament— Continued from Page 1.

play, was written by a New Zealander (J. A. S. Coppard) and produced by Massey Agricultural College (that's one in the eye for the "cultural" universities!) The unique setting is a man's mind with memory, operation, hearing, vision, anger, fear, and jealousy acting within it. "Memory" for example is cool and rational. Despite all the emotional crises which evolve in the play he continues to read through his pile of typewritten cards, mentioning particular phrases that someone has used in the past; odd fragments of past impressions. "Jealousy" on the other hand, dressed in green cloak and makeup, is vindictive and terrible.

The effectiveness of the setting can perhaps be traced to the doctrine that nothing is real but the thoughts and impressions in our heads. All we can be sure of is the image on our retina; the rest is inference.

The disturbing effect of this play is that it suggests that none of the elements in our personalities is dominant. It is an unproven assumption in psychology, that our minds are crowned with an "ego" —that we do, in fact, have a true self." But is this true, or is it, as the play suggests that our minds, our "selves" are simply the momentary resultant of our emotions? It's enough to make an existentialist reach for his Bible. We certainly hope that Massey are invited to put this on at Victoria.

Polished Comedy

Victoria's "Keep it in the Family" by Jaques Prevert was an extremely sophisticated and polished comedy. The play itself is a satire on Freud's work: the daughter (Ruth Garland) a sensational nude-in-a-mink-coat, falls in love with the father (Barry Green), and the column-writing mother (Katherine Lennart) with her son (Geoff. Henry) who has become a worker priest, in particular, a worker plumber priest. Anne Able, Peter Dickinson, and John Ross give magnificent performances as the housekeeper, the lawyer, and "mistress to the colonel." "Salient's" reporters can only join with the audience at the Festival in saying that it is the most hilarious thing we have seen. Once again, may we hope that this is repeated at Victoria.

Victoria Dominates

Music at the Christchurch Festival was dominated by the Victoria contingent: Evelyn Killoh, Susan Jones, Penelope Saunders, Robin Maconie, Peter Merz, and Maurice Quinn. In fact, John Ritchie, an important conductor in Christchurch said "Victoria made the Music Festival." We had a complete concert entirely to ourselves and were the only university to present original works; e.g. Gary Mutton's "Adagio"; Robin Maconie's "Trio Sonata"; and Kit Powell's "Allegro Barbarosso!" Mr Mutton's work was impressive; Foster Brown writing in The Press referred to "The beautiful pianissimo playing of Miss Saunders" and "The piece was attractive and deserving of the excellent performance." Mr Mutton in fact, has a most pleasing style. A recent issue of "The Listener" contained the excellent remark that "Nothing is duller than to make the imagination redundant ... and excitement in Art la the provocation of an inner vision." "Adagio" did not make the imagination redundant; all that was presented was the basic idea; the music was Open—the broad view and no tumbling with the details. Because of this, it has been seriously suggested in some quarters that Mr Mutton is the reincarnation of Wagner.

The other pieces were all excellently played and well-received by the audience, with one sad exception, the Haydn wind ensemble (Cant.). Poor intonations and no musicianship. Just sat down and played notes. This is surprising when one remembers that there is far more opportunity for orchestral playing in Christchurch than Wellington, where this field is dominated by Alex Lindsay and the National Orchestra.

Finally and in conclusion might we reiterate that the Arts Festival was a great success (regarding existing conditions as unlikely) and may we hope that they are equally good in the future that lies ahead.

—M.H.H.