NIGEL PLAYFAIR

Auckland Star, Volume LXV, Issue 203, 28 August 1934, Page 6

NIGEL PLAYFAIR

A THEATRICAL REVIVALIST.

(By DONALD COWIE.)

In Sir Nigel Playfair, whose death occurred a few daye ago, the English stage has lost not only one of its greatest modern actormanagerS, but a theatrical revivalist whose work at the famous Lyric Theatre, Hammersmith, has had an important influence upon dramatic trends In recent years. When Playfair revived "The Beggars' Opera" soon after the war and shepherded it through one of the longest runs achieved liy any modern production, he proved that old English drama could successfully hold its own, and he started a fashion that, fortunately foi- the English theatre, will not die in a day.

This remarkable man, combination of actor, scholar and organising genius, was blessed with the- Initial advantages of fine family traditions and a good education. He was born in July, 1874, the son of a fashionable doctor, who lived in Curzon Street, Mayfair, and who had had a distinguished medical career, both at home and abroad. His mother was the daughter of James Kiteon, an iron founder, of Leeds. Young Playfair became stage-struck at an early age, but his ambitions received small encouragement at Winchester and Harrow, his two public schools, although they developed rapidly when he entered University College, Oxford, and joined the O.U.D.S.

Law to Stage.

Even then, however, the prospect of ever becoming an actor was a small one to Playfair, for, by hie father's orders, he was forced to read for the law. In due course he became a barrister-at-law of the Inner Temple, and for a year or two practised his profession. But ae the time passed Jie devoted more and more time to his principal hobby, the theatre, acting for many amateur dramatic societies, and courting the society of famous actors of the day. One of his greatest friends at that period, it will interest New Zealanders to know, wae "Plum" Warner, whose subsequent fame needs no fou&h.

Tho turn in Playfair's life came when he collaborated with another friend, Philip Carr, in the writing and production of "Shock-headed Peter," a children's play which has since become very popular. Then Playfair met Arthur Bourehier, who a few months later offered him a permanent position in his company. The young man instantly abandoned his legal practice and commenced his real career.

In succession Playfair acted under such men as Bcerbohm Tree, George Alexander, Granville Barker and Sir Frank Benson; he travelled with touring companies in the provinces and on the Continent; and laid a firm foundation of acting experience for the better work ho was to do later. During the war period he observed the Americanisation of the English stage that was proceeding with dismal rapidity, and he became an ardent supporter of the movement to establish a national theatre. With a few other patriots he noted that for several years no classical English play had been given a good theatre in London; and out of his discontent proceeded a great project.

Tho Lyric Theatre, Hammersmith, was a broken-down house, that had seen better days. Together with Arnold Bennett and Alistair Tayler, Playfair had the effrontery to take a long lease of this white elephant and proceed to operate it as a repertory theatre. "Our intention was to run plays which we liked, for six weeks at a time, a scheme which our friendly neighbour, Mr. Mtilholland, of the King-'s, declared to bo quite lunatic." But the most- audacious part of the scheme was that Playfair did not intend to stage popular plays, or those to which tho public had become lately accustomed, but to revive old English dramatic masterpieces and welcome promising stage newcomers that had been unable to obtain a hearing elsewhers.

"The Beggar's Opera." A great many prominent people, including Sir Thomas Beecham, Eugene Goossens, A. A. Milne and Lovat Fraser joined enthusiastically in the scheme from the beginning; but the greater theatrical world was very sceptical. ■However, the instantaneous success of Playfair's well-chosen plays soon confounded the unbelievers. "The- Beggar's Opera" ran for ■three and a half years, and such a theatrical dark horse as Drinkwater's "Abraham Lincoln" for twelve extraordinary months. Such pieces ne "The Beaux' Stratagem," "The Duenna," "The Rivals," "The School for Scandal," "She Stoops to Conquer," "The Wjty of the World" and many Shakespearean plays were staged before packed houses for months on end; and Hammersmith became, and remained for its founder's lifetime, the doyen of theatrical enterprise.

If it were not that he had firmly established his tradition at tlio time of his death, the loss of Playfair at this early hour might bemourned as the greatest theatrical calamity of our generation. But it is unlikely now that his great work will die with him. This work is best summed up in his own words: ,: 'I have at least proved that there is a large audience for eane entertainment, and for the best thinge in drama. I havp proved also that its provision is a large task for a small organisation to carry through unaided. Revision of taxation and. some modest assistance from a wise Government would go far to removing difficulties. If I have made out a ease for that, I shall feel that my life and work will not be found to have been altogether a failure."