THEATRE ARTS GUILD

Press, Volume LXXXVI, Issue 26205, 31 August 1950, Page 3

THEATRE ARTS GUILD

THE STAGE

FINE PRODUCTION OF “CRADLE SONG ”

The performance of Martinez Sierra’s “Cradle Song” by the Theatre Arts Guild in the Radicnt Theatre last evening was a most satisfactory one which deserves a wider public than cnly two performances can attract. The guild, under the direction of Mr Gregory Kane, has already made » place for itself in the cultural life of Christchurch by its dist nctive productions in the past, and the high standard achieved in its 1 test production augurs well for the Tu.ure. “Cradle Song” is a unique and aopea.'ing play and even those who might be inclined ta think parts of it teu.ous because of its curious placidity and absence of dramatic highlights could not fail to be impressed by the sincerity of the acting and the simple good taste of the production. It captured faithfully the tranquil spirit of the cloisters and showed how this deep serenity persists in spite of the littie human problems which must beset a community of nuns of a closed order. Their impact with the outside world comes through the little foundling whom they adopt and bring up until the sad day comes when she leaves them for the world and marriage. The story is a simple one, but therein lies the charm of a play which cannot be measured by any cf the yardsticks of ordinary theatrical convention. The cast had a better balance as a whole than in any previous guild production. Paula Geary’s Sister Joanna of the Cross was essentially human for all her spiritual qualities and she made movingly clear what a momentous event in her life was the decision of the Dominican community to keep the child which was left on its doorstep. Alison Robins, in the part of Teresa, the foundling when grown up, had a spontaneous gaiety which threw into a poignantly exnressive light the almost silent grief of the nuns when she is leaving for the outside world. Ruth Calson’s stern Vicaress was an excellent piece of restrained acting. Alan de Malmanche played doctor to the nuns with just the right amount of fatherliness, and there were good performances also from Florence Nicholls as Mistress of the Novices and David White as Antonio. The play was directed by Gregory Kane with a sensitivity and attention to atmospheric detail that commanded admiration, the chapel scene being particularly effective.

“Cradle Song” is a play that will appeal to some people for religious reasons, to others for artistic reasons, but it should be seen by all who are interested in intelligent and entertaining “theatre.”