DRAMATIC CRITICISM

Press, Volume LXXXIII, Issue 25273, 27 August 1947, Page 5

DRAMATIC CRITICISM

Sir, —It was with mixed feelings that 1 read your stage critic’s, on “Widowers’ Houses.” Your critic seems to dwell too much on the imperfections of the production, which, I think, were very slight. Admittedly, nothing can ever be perfect, since our judgment, being human, is fallible; but this is no excuse for dwelling on im--perfections. Your critic ought to give clearly substantiated reasons for his conclusions, for we cannot accept • hem, if, as it seems to be, your critic’s nly reason for his judgment is his feelings of enjoyment or displeasure. Success depends on whether a thing succeeds, and judging by applause, the play was enjoyed and appreciated. In conclusion, I quote from Addison: “A true critic ought to dwell upon excellences rather than imperfections, to discover concealed beauties . . , and to communicate to the world such things as are worthy of observation." —Yours, etc., G.W.G. August 26, 1947.

Sir, —The fault of “Widowers’ Houses,” as of most repertory productions, was inaudibility. From the back of the hall it might as well have been an “inexplicable dumb show” for all jou heard of most of the players, except the leading lady and Mr Sparrow. The same goes for “Hay Fever.” Mrs Reesby was the only periormer in • hat piece who could be heard all the time. Why can’t these otherwise talented performers learn to make themrelves .heard?—Yours, etc.. J.S. August 25. 1947. Sir, —A friend of mine went to the Radiant Hall to see a puppet show of ‘Widowers’ Houses.’’ He remarked to me that it recalled the days of the silent film, minus the captions. Might 1 suggest that the scociety provide a compere to represent G. B. Shaw?— Yours, etc., STALLED OX. August 25, 1947.