N.Z. NATIONAL THEATRE

Press, Volume LXXXIV, Issue 25607, 23 September 1948, Page 3

N.Z. NATIONAL THEATRE

drama schools as FIRST VENTURE

SUGGESTION BY VISITING BRITISH AUTHORITY

“If the New Zealand Government is interested m establishing a national theatre, and is prepared to make a grant towards it. I would suggest that the money be used to establish good drama schools, because when you have a building for a national theatre, that building must be manned and run by people of New Zealand, not by outsiders/’ said Miss Elsie Beyer, general manager of the Old Vic Company in an interview yesterday. So far as she knows, Miss Beyer is the only woman holding a position as general manager in the theatrical profession in Britain. A fortnight before her departure on the Old Vic Company’s present tour, she was advised of her appointment as general manager of the Shakespeare Memorial Theatre at Stratford-on-Avon, and she will assume this position on her return to England.

“No person, however experienced could possibly presume to say what you need or lack in the New Zealand theatre after only a fortnight’s acquaintance with your country,” said Miss Beyer. ‘‘We have not had the opportunity of finding out. As to your national theatre, I personally consider it is no use thinking in terms of buildYou must have a foundation of good drama schools, possibly one in the North Island and one in the South “You could well invite experienced people to come from oversea to contribute to your theatre, but not to run it. Although we may speak the one language, we must recognise the differences of life in New Zealand and elsewhere, and the different conditions under which a theatre would operate ”

Encouragement of Authors Miss Beyer said a national theatre should encourage everything in the way of drama, music and ballet Its work should not be confined to the presentation of established classics but its repertoire should include modern plays. All of these contributed to the making of a whole—the great world of entertainment. The national theatre should play a major part in the ordinary entertainment of the nation She believed, added Miss Beyer, that the theatre could help the people The value of a national theatre in encouraging New Zealand playwrights vsas emphasised by Miss Beyer. If a New Zealander wrote a good play he deserved the chance of seeing it produced in the national theatre. If its doors were closed to him, he would lack encouragement. The nature of a play—farcical or serious—should not be the deciding factor. A legitimate play must lose a tremendous lot in a big theatre, because many of the audience in the back seats were unable to see the movements and facial inflexions of the actors, said Miss Beyer. In a straight play, the actors must speak naturally, though not necessarily in “drawingroom” voices. Through their efforts to reach all the audience in a big theatre, they lost their finesse. However, the design, rather than the seating capacity of a theatre, was important. Drury Lane, in London, held a very large number of people, yet because of its “horse-shoe” design, actors could be heard in every part of the house. It was essential to create a sense, of intimacy between players and audience.

Value of Smaller Theatres In New Zealand, continued Miss Beyer, the Old Vic Company wasplaying in big theatres because of the brevity of its tour, and the desire to let as many people as possible see its plays. Companies staying longer in New Zealand should play in smaller theatres to secure better results, and also to reduce admission prices. A New Zealand and Australian tour was extremely expensive, and it was only right that its supporters should recoup their outlay. In addition, a theatrical company should travel in reasonable comfort, though not necessarily luxury, otherwise the best could not be expected from the players. Miss Beyer said she hoped to return to New Zealand and Australia with a company from the Shakespeare Memorial Theatre. “I have hopes of a revival of the theatre here,” she continued. “Twenty years ago, I know it was very flourishing, but since then it has not pulled up after the advent of the talkies. It is not enough for companies from oversea to visit you and go away again. You must have a theatre of your own, built out of your own talent.

“We must see what we can do to help some of the promising people in these two countries. There is unquestionably talent in Australia, and I am sure it is here, too. It is not right that amateurs should have to work at some other job all day, and act and rehearse at night. Acting is a full-time job.” Miss Beyer has had 28 years’ association with the theatre. She was manager for the late Dion Titheradge. Later she became general manager of ’H. M. Tennent’s famous producing firm. She relinquished this position to join the Old Vic Theatre Company.