“THE SACRED FLAME”

Press, Volume LXXXIX, Issue 27203, 21 November 1953, Page 2

“THE SACRED FLAME”

THE STAGE

FINE REPERTORY PRODUCTION

“The Sacred Flame.” a gripping drama bv W. Somerset Maugham, which was presented by the Canterbury Repertory Theatre Society last evening, was a memorable production. It was Mr Robert Young’s final presentation as producer for the society and the players had obviously set out to reach a very high standard. This they achieved by fine team-work and a thorough understanding of their parts, under masterly direction. , s „ The dialogue of this mystery play is significantly formal and the cast pur it across to the audience with powerful impact. , The play is set in a simply-furnished drawing room and the curtain rises on a permanently injured airman playing a game of chess with his doctor. His cheerfulness is matched by his mother, his wife and his friends, but before the end of the first act it is clear that most of their high spirits are assumed. That night the young airman dies. His nurse supects he was murdered, ana demands a post mortem. How the family and the doctor react to the unexpected situation makes powerful drama; the suspense and tension hold the audience to the end. As the bed-ridden airman, Maurice Tabret, Edward Booth maintained the difficult role of a bright, excitable invalid with great merit and used his eyes most effectively. His physician. Dr. Harvester, played by George Taylor, at times lacked force and the dignity expected of a medical man, even though a close family friend. Mavis Reesby .• played one of her best parts as Mrs Tabret, the airman’s rather unconventional but singularly mature mother; her facial expressions as the mystery unfolded were excellent. The outstanding performance of the play was given by Frona King as the frustrated Nurse Wayland, in love with her patient and bitterly resentful of his beautiful wife. Her fight against her emotions as she told her story was brilliant acting indeed. As Mrs Tabret said: “One can’t help feeling sorry for a girl who has so xnuch virtue and so little charm,” and Miss King evoked just this feeling from the audience.

Brian Fisher Betts was extremely well cast as the “funny, old-fashioned Major,” who had once been Mrs Tabret’s lover. Cynthia Ward’s interpretation of Stella Tabret, the airman’s wife, was a pldhsing piece of work. By her sensitive portrayal she gained sympahty at all times. The part of Colin Tabret, the airman's brother, is not a strong one and at first Alan Shaw seemed rather ineffectual in it, but as the play progressed he became more confident and put more assertiveness into his lines. Lorna Gunthorpe did the small part of Alice, a maid, with restraint and charm. After the final curtain Mr G. S. Salter announced that “The Sacred Flame” was the last play Mr Young would produce for the society. He said that Mr Young had done much to raise the standard of the society’s presentations and he had been ably assisted by Mrs Young, whose acting and decor work ip many plays had been greatly appreciated. When replying, Mr Young said that repertory performances .were a valuable artistic asset to Christchurch. He hoped that the society would prosper apd increase its influence on the community. “I shall look back on nearly four years of producing for the society with happiness,” he said.