RUTH DRAPER.

Auckland Star, Volume LXIX, Issue 192, 16 August 1938, Page 4

RUTH DRAPER.

AUCKLAND SEASON. PLAYGOERS ENTRANCED. SOftCIOUESft Or THE STAOC. The witchery of Ruth Draper , * art cast it* spell on- Auckland playgoers en maeee as represented by the large attendance last night at His Majesty's Theatre for the opening performance of the eminent actress' season of six night*. Firmly determined as many patrona ■were to Match,aside the veil of mystery suggested in the heralding of the artist, to sit ae 'critics at the seance, they were early betrayed by their quickened imagination* into realisation that they had become ardent devotees through sheer enjoyment of the entertainment given, by this eorceress of the stage. A delightful presentation of a series of interesting and diverting personalities quite naturally engaged the attention of the hoOse and held it in unwavering and keenly appreciative thrall for over two nouns.. Not till the enjoyment of the performance gave place at the intervals to critical thought did patrons begin to realise the full significance of this new art whereby it* exponent, with no more on the stage than a chair or a small table, produced the illusion and atmosphere of a crowded church bazaar, a city home, an Irish shanty, or an Italian church. realisation, as the entertainment progressed, of the beauty and magical skill in its production, the audience rose enthusiastically at Miss Draper, to give her an ovation at the final fall of the curtain. For they then realised, that they had seen something that bad not been dreamed of in their' stage philosophy. What did ahe do? She just enacted the key character in some carefully composed scene in which were a number of imaginary persons, so vividly reflecting the characteristics impinging on her personality from the nneeen actors that the crystal-gaisere in the auditorium could get a visual setting of the whole scene and action, according to their individual imaginations. Enjoyment of the direct and visible portrayal of the key character as Ruth Draper presented it was inescapable, for truth of detail was subtly scored with whimsicality or pathos in ordinary actions which carried conviction with a smile or e> tear. But there was added to this, by tone and gesture,' a series of reflected, or indirect, character studies of the unseen actors.

One might describe it as the white magic of the art of innuendo carried to perfection for a good purpose. Consummate artistry in conception 1 and portrayal of the interlocked direct and reflected characterisations is Ruth Draper's new art, a delicate unity of all the artsi of the stage but that of setmaker, who is left jobless. Universal enjoyment, the quality by which all entertainment must stand or fall, wae there in full measure, for Miss Draper mingled comedy and drama plentifully in-her character studies. But it was done with refined artistry. Exaggeration has email part in her presentations, while fidelity to detail and subtle use of the comedy in the commonplace incidents of life bring her characters unerringly true to life. Such details as her entrances and exits were a very joy to the informed and inveterate playgoer, her indirect characteristics charmed the imaginative into beautiful waking dreams. The matter-of-fact man and woman revelled in the easily recognised types of a village bazaar, the intimacies and homely quips of "Three Breakfasts," and the verity in national accent and mannerism of the County Kerry sketch and "A Church in Italy." . Recalled three times at the end of the performance last night, Ruth Draper had an Auckland assurance of the success of her short season of six nights. A new programme will be presented every second night and at matinees on Wednesday and Saturday sketches different from those of the evening performances are to be given. The season will definitely close on Saturday next.