TWO PLAYS BY SHAW

Press, Volume LXXXIX, Issue 27072, 22 June 1953, Page 11

TWO PLAYS BY SHAW

THE STAGE

PROGRAMME FOR CORONATION REPERTORY SOCIETY PRODUCTIONS

No doubt Shaw would have appreciated the irony of having two of his plays selected as a Coronation programme by the Canterbury Repertory Theatre Society. Also he might well have questioned the suitability for the occasion of the first part of “Back to Methuselah,” and “The Dark Lady of the Sonnets,” which the society presented at the Repertory Theatre on Saturday evening. “Back to Methuselah” is a single work or cycle of five plays concerned with creative evolution, and “The Dark Lady of the Sonnets,” which certainly has the first Queen Elizabeth as a leading character, is one of Shaw’s plays for an occasion, written for the sake of an appeal for a national theatre. There is no particular merit in presenting the first part of “Back to Methuselah” for the first time in New Zealand. Admittedly the cycle is not likely to be. seen in its entirety, but to take two acts from Shaw’s vast survey of human failure is like clipping a piece of tapestry and expecting us to see in it the pattern and richness ofthe whole fabric. Robert Young’s skilful production, with its fine settings by Valerie Gould, and some particularly good acting—mostly in the second act—is so well done as to leave the impression that the time and effort given by both producer and players could have been put to better purpose. As for “The Dark Lady of the Sonnets,” is staged by the society more than 20 years ago, and is perhaps the best of Shaw’s one-act plays. But Shaw has written other plays besides those chosen 4jy the society. Its choice is far from exhausted, and if it wanted plays for a -Royal occasion, Laurence Housman wrote 54 “palace plays” round the life of Queen Victoria. Only nine have been presented here.

Some of the intensity and vivid theatrical power of Shaw’s enormous » work do emerge, however, from the first part of “Back to Methuselah.” In it the playwright uses the legend of the Garden of Eden to develop his thesis that our conduct is influenced not by our experience, but by our expectations, and that life at present is not long enough to allow us to take it seriously. Much longer life is not only desirable, but essential if the human race is to survive. For the first act the scene is set in the Garden of Eden where Adam and Eve learn of new things from the subtle Serpent—of living, death, birth, jealousy, immortality, and hope. Here the acting does not match the quality of the play. William Styles plays Adam competently, but without much imagination, and still has to learn that strength in acting is not all sound and fury. There is little light or shade in Judith Dunbar’s playing of Eve, and Patricia Frost, most realistically presented as the Serpent, speaks her lines effectively, but a little too much like an elocutionist. There is more power and conviction in the second act—set in an oasis in

Mesopotamia—because of the acting of Frona King as Eve, and Brian Fisher-Betts, who plays Cain, the first murderer. They are ably supported by Allan Coates, whose performance as Adam is in a minor key, but nonetheless effective. The conflict between Eve, representing woman the creator, and Cain, the boastful fighter, who is man the destroyer, is vividly portrayed. Frona King acts with both passion and feeling, and every word of her long speeches is alive. Although Brian Fisher Betts occasionally suggests a Major Cain whose spiritual home is Poona, his acting is forceful but controlled, and he has the ideal physique and presence for the part. Allan Coates is less aggressive, but his playing carries the same conviction, and, like the others, he knows what his lines are about. “The Dark Lady of the Sonnets” is still a topical play, for no national theatre has yet been built in London. Shaw’s piece for an occasion is a witty and amusing story of the meeting of William Shakespeare and Queen Elizabeth, and the jealousy of his mis-

tress, the Dark Lady of the Sonnets. In it he shows not only his virtuosity, but also his knowledge of Shakespeare. Not surprisingly, his Shakespeare is “a snapper-up of unconsidered trifles,” bearing some*resemblance to the Shaw who, as a crow following many ploughs, picked up and used jewels of speech thrown away by common people. Robin Gurnsey as Shakespeare expresses extremely well the confidence and egotism of the playwright, his performance being marred only by a tendency to bob his head when trying to emphasise some lines. Marjorie Bassett is a gracious and dignified Queen Elizabeth, but a pallid character. She could have put more life and passion into her interpretation. Raynor Scandrett has limited scope as. the Dark Lady of the Sonnets, but is able to emphasise the underlying shrewishness of the lady and her devotion to Shakespeare. Ivan Horsley plays the part of the Beefeater. As a Coronation offering “Back to Methuselah” and “The Dark Lady of the Sonnets” scarcely deserve the title. As examples of Shaw’s work they are well worth seeing, not only for themselves, but for the way they are pro- ( duced and acted. '