LIVE THEATRE IN N.Z.

Press, Volume LXXXIX, Issue 27148, 18 September 1953, Page 8

LIVE THEATRE IN N.Z.

DIFFICULTIES NOTED BY PLAYERS MR RICHARD CAMPION’S VIEWS Theatrical problem, peculiar to New Zealand and the efforts of the New Zealand Players to overcome them were described to studentrfand staff of Canterbury University College yesterday by Mr Richard Campion, director of the company. The “ditch which divides" New Zealand was possibly responsible for marked variations in approach by both audiences and critics, said Mr Campion. Mountain ranges made other divisions, and then there were attitudes arising from different forms and times of settlement. His company would play to 30 different comiOmities in two months, with 62 performances. The halls used ranged from theatres which were well-designed and wellequipped for live shows, to “mere shells” owned by municipalities and let at low rentals to cinema companies, said Mr Campion. One centre visited had not had a live theatrical show for 25 years, and in most centres the cinema was the main form of entertainment. Looking back into the history of the theatre in New Zealand, Mr Campion said a performance of "Macbeth” in Wellington (“with Highland reels in the interval”) was reported in 1842. The 1850’s and 1860's were a heydey for live .shows, and then came limelight, gas, electricity, and the cinema. "The younger generation therefore has little experience or knowledge of the live theatre," Mr Campion said. They found their pleasures at the cinemas or in "Rugby, beer, and horses,” all of which had their merits as entertainment But it was a big job to persuade them to discover for themselves the resources of the live theatre. A gallant effort to fill the gap had been made by the amateur theatre in New Zealand, which gave purpose to the estimated 40,000 to 50,000 persons actively engaged in some kind of theatrical production, said Mr Campion. Audiences, however, were uncertain of the fare to be expected. When a permanent New Zealand theatre company was mooted in 1948, a group of young enthusiasts went to England to prepare themselves and, when the scheme fell through, they still retained their desire to establish for New Zealand a theatrical tradition of its own with Dominion players presenting Dominion plays, Mr Campion said. That was the birth of the New Zealand Players. "Prospects More'Eneouraging*’ Prospects were now much more encouraging than in 1948, because the whole temper .of the country seemed to have changed, Mr Campion said. A desire for worthwhile occupation of leisure seemed to be the main cause The company aimed to provide opportunities for young players, and also to attract back some of those who had gone abroad on bursaries. „, The present situation could best be illustrated by arrangements to entertain the Queen and the Duke of Edinburgh, said Mr Campion. The most that could be provided was two screening! of imported films. “Surely we have something thaf is more distinctively New Zealand’s.” he said. Setting aside straight plays, the country had the Kiwi Concert Party, which had had great success for eight years, and might have rated a command performance because it was something which had appealed to New Zealand audiences and had been born of this country. ‘‘The success of the New Zealand National Band in England has been received here almost with surprise that New Zealand can compete internationally with anything but beef, mutto2i an d muscle.” Mr Campion said. Ine distinctive appeal of a New Zea-land-written play in the Dominion was shown by the forthcoming production St '5 ed 5 e H y '” J? r Campion said. The New Zealand Players themselves had been stimulated by its character, and it waa « play That would appeal to all kinds of audiences. That was another aim of the company—to establilh new permanent audiences and win back supporters of other decades he concluded. During the lunch-hour yesterday other members of the company spoke about their work to audiences at the Addington workshops and several factories.