“NED KELLY”

Press, Volume LXXXIX, Issue 27149, 19 September 1953, Page 2

“NED KELLY”

THE STAGE

NEW ZEALAND PLAYERS’ PRODUCTION The gay, nefarious Kelly gang completely won over to their side the audience at the Theatre Royal last evening in the first half of “Ned Kelly,” presented by the New Zealand Players, and even in the second half, when fate turned against the bushrangers, there was a certain feeling of sympathy for them as each climax pointed to an inevitable doom. “Ned Kelly,” the first of Douglas Stewart’s plays to be produced in his own country, is melodrama, enriched by lively humour, crude at times, but in keeping with the theme. In its production the play had some masterly touches, and from the beginning a realistic atmosphere was created by effective lighting and simple sets that brought the Australian scene to life. A great deal of research had been done by the producer, Richard Campion, and the designer, Raymond Boyce, and the costuming, carried out in muted colours brightened by touches of red, blended well into the picture. In dimmed lighting scenes were deftly changed while a stockman sang traditional ballads to distract the audience, and in an incredibly short time the bank at Jerilderie became the Royal Hotel, or a camp in the ranges was changed into Sherritt’s hut. Douglas Stewart has written some beautiful prose into this play, but too much of it was lost by inaudibility. As Ned Kelly Roy Patrick was a striking figure, likeable and convincing. It was easy to believe that he was not really a thief, but merely “a dealer in banks and horses,” who, according to him, were “all robbers.” Patrick, however, raced his words at times and the meaning was lost because they could not be heard. He did not sustain his accent either. His historic bullet-proof armour made an effective costume and he managed his last speech well from inside it. Michael Cotterill gave a good performance as Joe Byrne, and in the last scene, when he was confronted with the murder of his boyhood friend, Aaron Sherritt, he was most impressive. As the good-natured Dan Kelly, Barry Lineham gave one of the smoothest portrayals, and was at his best when he rolled in, a little drunk, to the camp hide-out to tell the rest of the gang about his encounter with the police superintendent, who was looking for them. Here was a player who had no difficulty in mastering the Irish accent.

Keith Bracey as the embittered, nean-natured Steve Hart, gave an uneven performance. More swaggering aggressiveness would have suited the role.

In the minor parts, Desmond Digby was one of the best in his dual role of Mackin, the junior bank clerk who “licked stamps and his boss’s boots," and Jack Jones, the boy at the Glenrowan Inn. When Ned Kelly took him along with the others to drink at the Royal Hotel he behaved just like a typical bright junior after a beer or two at an office Christmas party. John Carson-Parker, as the rigid bank clerk and shiftless Aaron Sherritt, did well. John Gordon was setter as the bank manager, caught in his bath when the Kellys raided his bank, than he was as Reardon, the half-hearted railway saboteur. He was another wh<?se words were inaudible at times.

Women had only small parts in “Ned Kelly,” and Rilla Stephens played the part of the wife of a hunted man with due intensity. Her stifled scream when her husband was shot brought a fine climax to the scene. Delme Hope made Mrs Barry, so philosophical in danger, stand out well.

Gav Dean did the most she could with her part of the voluptuous barmaid at the Royal Hotel, and as the aged Mrs Jones behind the bar. at the Glenrowan Inn. Had the character of Kate Kelly been put into the play this would have suited her well. Another barmaid. Edith Campion, was a trifle too demure for a back-country pub of these times. The producer. Richard Campion, -effectively took the part of the parson who found himself inadequate to cope with the Kellys. Bernard Shine and Willis Williams were others who plaved small dual roles. “Ned Kelly” makes bright entertainment and should be very popular in rural communities. The audience last evening was most enthusiastic, but disappointingly small.