The Extravaganza

Constructive Criticism

For some years past it has been the policy of the Executive to provide something superior in Extra travaganza programmes. Victoria is the only New Zealand University to provide fare of a higher standard than that of a glorified school concert, and to produce its Capping Show in large theatre for a long season: and the public has shown it appreciation of the students' efforts by flocking to the Opera House, in increasing numbers each year.

The Extravaganza is becoming each year more and more a financial venture. The time has gone when it represented merely the wild caperings of a host of irresponsible students, fortified for the occasion; the audience has now even ceased to throw things. Many, (including the Radio Record), will no doubt shed tears over the passing of the old days, but the public generally has welcomed the change from lewd nonsense to clean satire and musical burlesque. The .substantial sum added to the Building Fund by this year's effort shows that the Extravaganza has become an institution, that the public likes the form of entertainment provided, and is willing to fill the Opera House for four nights (four nights!) in order to see it. Next year, we are informed by the Secretary of the Building Fund Committee, a big drive is taking place to augment the Fund. And what do we propose to offer the public next year for our Capping Show?

First, we are giving them an "opening chorus and spectacle." Presumably we shall see Salamanca lasses emulating the Marcus Girls in a minimum of coswhile the Glee Club (with Mr. Scotney and other non-singing members) will render the "opening chorus." This will, the Executive undoubtedly believes, put the audience in a good humour for what is to follow. But I remember the hush that came upon the Opera House when the curtain rose upon the scene of "Bob" this year. The subdued blue lighting, the simple setting, and the magnificent acting, cast a spell over the audience, a spell which was not broken. Had this scene followed an "opening chorus and spectacle," the effect would have been appalling. Never is blatancy more blatant, and never is a good effect so effectice, as at the very beginning of a show.

Next we are to be treated with a men's ballet. An excellent scheme. But first, the men's ballet should definitely not be 'in this position on the programme, and secondly it should not stand alone but be incorporated in a short interlude, preferably with another in the main play itself. Otherwise the audience will be convinced that they are about to see a vaudeville show, and will settle down in the comfortable and unintellectual frame of mind common to George Wallace audiences.

And now the Satire. In view of the well-deserved success of "Bob." "Hell's Bells" and "Murder in the Common Room." it would be absurd to cut this item out or curtail it—indeed, to do so would justly be considered an affront to the authors of these splendid plays.

The Interlude, so long as we have the inimitable Carrad. should on no account be omitted. The men's ballet and the bright original music are always appreciated.

In conclusion, I would recommend that the Executive consider the abolition of the prize money awarded to the successful authors The incentive given is very small, and Extravaganza writers should need no recompense for their months of labour other than the knowledge that the whole show has been appreciated by the public and has done a little at least to cement the relations between 'Varsity and the outside world.