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Drama Club

The true place of drama in the university is a subject which involves much controversy. We are told that a university drama club should endeavour to stage plays which other societies do not attempt—the controversial, the experimental, the noncommercial, the classical. Although, unlike the professional theatre, we will not starve if no one comes to see us, somebody has to pay the bill and that somebody is the public. If nobody comes to see a play no matter how well produced or acted it may just as well stay between the pages of a book for no play can live on a stage without an audience.

To tread the narrow path between the economic bog of treating potential audiences with contempt and the slough of blatant commercialism has been the sincere wish of the Drama Club for the last five years and a review of that period shows that some degree of success was achieved in presenting worthwhile entertainment.

Nineteen forty-nine saw a return to the Concert Chamber to stage that year's major production, after an absence of several years. The play was Goldsmith's classic comedy "She Stoops to Conquer." Ralph Hogg, himself an old club member, produced for us and the audiences enjoyed seeing the show as much as the club did doing it. Long to be remembered are Ray Melford's expostulating of "Perish the baubles, your person is all I desire" to Margaret Loftus, the night the sound effect of the cow mooing in the garden scene came on treble volume to sound more like a railway train, and in the small part of Diggory, Terry Bayler appearing for the first time in Wellington.

The club was joined that year by Patricia Evison, a former member, on her return from the Old Vic. She produced Chekov's "The Wedding" and introduced us to Christopher Fay, whose "Phoenix Too Frequent" she had just seen in London. Chris. Pottinger's production of this delightful play first brought Fry to New Zealand audiences. Pat Evison also produced our winning entry in that year's Tournament Drama—Thornton Wilder's competition perennial "The Happy Journey from Trenton to Camden."

Having worked on the play under Michele St. Denis at the Old Vic, Pat Evison infused us with enthusiasm to try Shakespeare's "Coriolanus". There were outstanding performances by Maureen Ross-Smith (Volumnia). John Macdonald (Menenius,) and Paul Treadwell (Coriolanus). but nineteen changes of scene were perhaps too many to attempt with realistic sets. The rehearsals were enlivened somewhat by the variety of interpretation which a certain member of the chorus managed to put into 'He doth appear". That he was struck down in the battle during one performance and removed to hospital was probably divine retribution. Later that year Paul Treadwell produced Sartre's "Respectful Prostitute," which featured Gerard Monaghan, Gweneth Carr and Tony Keesing. We entered a scene from Coriolanus in the British Drama League but the treatment it received from the judge was disheartening. Maureen Ross-Smith led us to success at Tournament with Thornton Wilder's "Long Christmas Dinner".

Maria Dronke, who has always been of great help to the club, produced "Lucrece" (Obey-Wilder) in March 1950. The cast included Maureen Ross-Smith (as Chorus), Robin King (Lucrece) and Terry Bayler (Tarquin), all of whom were to receive Government drama bursaries and travel to England to study. Next that year came Paul Treadwell's production of Jean Cocteau's "The Typewriter". Tournament that year was in Dunedin and perhaps they could not overcome their jealousy at the impeccable Scottish accents of we sassenachs in James Bridie's "Amazed Evangelist", but it did not go across as it did when we staged it for the British Drama League when we returned.

The minutes of the final meeting for 1951 of the club's committee contained the following: Moved Stent, seconded Treadwell, "that glancing back over the club's year so far, The Rivals' had better be good." And it was. Once again under Ralph Hogg, this was another happy production. Outstanding were Paul Treadwell (Acres), Anne Flannery (Lydia Lanquist), Elizabeth Oliver (Mrs. Mala-prop), Gavin Yates (Absolute) and Meredith Paterson (Julia) to name only a few. Shaw's "Poison, Passion and Petrification"

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was our entry in Tournament that year. When the person playing the doctor arrived on stage wearing an Otago scarf the house was brought down but the judge (Ngaio Marsh) was not so impressed.

The Concert Chamber did not house major production in 1953. The first show that year was in the Little Theatre—converted into a West German D.P. camp for Bridget Boland's "Cockpit". This was not only a worthwhile play, it attracted large and appreciative audiences. Brian Brimer stepped in to produce at very short notice.

A second three-act play was staged later in the year in the Little Theatre by Elsie Lloyd. The play was Emlyn Williams' story of Shakespeare's Theatre, "Spring 1600". Notable in he cast were Gavin Yates, Rosemary Lovegrove and Bernadette Canty. We recaptured Tournament Drama with a macabre grand Guignol farce "To Hell With You". Largely responsible for the victory was Bernadette Canty's performance which had the judge raving. One act plays produced that year included John Wright's staging of Tennessee William's "27 Wagons Full of Cotton".

The 1954 season began with Sam Spewack's "Under The Sycamore Tree," produced by Mrs. Neda Martin. Perhaps the thin texture of the play required a greater display of technique than we were able to offer, but nevertheless audiences were pleased.

Naturally, those whose names appear most often in a survey of our activities arc those who were seen most often but behind them were many who never enjoyed the applause of audiences. Backstage Al Wilson, John Wright, Graham Patchett, Gavin Andrews and the ever-present, indispensable Huddy Williamson have been towers of strength. Anthony Treadwell designed many sets for us. Daphne Fletcher juggled the club's books for many years and has now handed over to Bruce Hill. Driving force behind the club has been Paul Tread-well, whose name has been mentioned already, but he performed so much of the spade-work necessary for the running of the club. Successive club secretaries, Tony Keesing, Ian Free and Gavin Yates, have worked willingly. Audrey Cook was always there to take on thankless tasks such as prompt and wardrobe. President of the club for four years was Bill Sheat, whose tenacious occupancy of the office at least provided the club with a certain amount of continuity.

The last five years of the Drama Club have been something of which all those responsible might well be proud. We hope that the next five years will be even better.