The Concert

"The Concert," Thursday June 22, 1916.

Some people thought the Minister for Education a little hard upon the educational methods of the Dominion, when in his first speech after taking office, he said severe things concerning the teaching of the English language. page 72 However, I feel inclined to agree with him that there certainly is "something rotten in the state of ......?" if the word "Concert," which my dictionary defines as "a musical entertainment or harmony," can be used by so learned a body as the V.U.C.S.A. to describe a performance consisting of three plays from all of which "the concord of sweet sounds" was conspicuously absent! Might one suggest to the Free Discussion Club that they would be performing a patriotic duty by devoting an evening to the consideration of "the probable result to the world of this tendency to misuse words so noticeable among the Truly Great of all Modern Nations?"

Still my preliminary disappointment over I settled down comfortably (can one be comfortable on these benches?) to enjoy and of course criticise the entertainment provided: two plays by Miss Jennings, "The Rest Cure," "Between the Soup and the Savoury: and Arthur Morrison's "That Brute Simmons," all most truly studies in discord.

The Nursing Home of the type shown in "The Rest Cure," called into being by patients of whom Clarence Reed with his imaginary ailments is a well drawn specimen, was well known in the far off days of leisure before the war. Doctors, nurses, patients all played the game of make believe, generally to the complete satisfaction of everyone. Worn out relatives gladly encouraged them, feeling like the wife in the play, that even the high fees demanded were worth while to secure a month's freedom from attendance on the patient.

The staging was admirable. That spotless ward, those immaculate uniforms, that irritating bell! All nursing homes I ever visited have those hand bells, I suppose because they annoy only the ringers, their weak tinkle, being barely audible outside the room.

Miss Hammond's conception of the bright, smart talkative nurse who believes in "amusing" her patient was well sustained. She will, I hope, give us other opportunities of enjoying her breezy cheerfulness. Mrs. Coleridge's playing of the part of the rough but kind hearted ward-maid was a good piece of character study. Her disgust when she discovered that her pity had been wasted on a perfectly healthy "heart" was very naturally page 73 expressed. Miss P. Nicholls has a talent for portraying "dark eats" (I quote from the play bill) and in both plays her studies were amusing and convincing. Miss Reed, the much enduring wife of the patient, though a small part was well played by Miss Gill. Mr. Broad must learn to moderate that line voice of his. Throughout the play he was much too boisterous and his study was not convincing. He should have remembered that after all his "nerves" were a pose and meant only to impress his public and his wife—once she had left the home there was no more need to insist upon them.

"Between the Soup and the Savoury" is a really clever psychological study of certain fairly common types, not markedly feminine. The three characters in the play are very well contrasted and give scope for sympathetic acting. The caste on this occasion was a strong one. Miss M. Nicholls, as the pleasant-voiced, kindly cook, proud of her "light hand" and possessed of that personal dignity so well known to mistresses, who interviewed the originals of those "Morning Post" advertisements:— "Good cook, pastry, entrees, experienced manager," took one straight into the English upper class kitchen dead to "Punch." Ada, the correct parlourmaid, whose excellent waiting and well cleaned plate make many an anxious hostess overlook pertness and other small vices was also done justice to by Miss P. Nicholls. Emily with her nervous humility and pathetic desire to be as other women, called forth all one's sympathy. Miss Lyon's interpretation, otherwise good, failed I thought, towards the end. She did not show enough shame when making her confession. In fact that part of the scene was underplayed by both cook and Emily. The cook had an opportunity she did not use of expressing the kindly nature she really possesses, and Emily, freed from Ada's cynical presence, should have become the broken hearted child she really was, whom Marie might have comforted without loss of dignity in Ada's absence.

"That Brute Simmons" gave Mr. Broad his chance. His voice could be used to advantage, (though he shouted overmuch at times) and the part of the blustering and would-be courageous sailor, who nevertheless collapsed at the meme sight of his former wife, suited him. Mr. Lawson as the henpecked, cowed, simpleminded husband page 74 of the truculent 'Annah was good, though his nervousness and want of dignity was perhaps somewhat overdone towards the end of the play. 'Annah left one speculating upon the just retribution in store for the Cabinets of the future when she and her fellows lead the opposition in the Dominion Parliaments of the reconstructed Commonwealth.

With so much good work on the stage, it is impossible not to regret that the exhuberant spirits of a small section of the audience at the back of the hall should have found expression, which must have been most disconcerting to the actors and trying to the many visitors present. Still with such good and plentiful fun as that provided it was impossible not to enjoy oneself. May all V.U.C.S.A. "Concerts" in the future be as successful.

—Playgoer.