REPERTORY SOCIETY

Press, Volume XCI, Issue 27612, 19 March 1955, Page 2

REPERTORY SOCIETY

Two One-Act Plays

Presented

“CONSIDERABLE ACTING RESOURCES SHOWN” The Canterbury Repertory Theatie Society presented two one-act plays to a crowded house at the Repertory Theatre last night. The plays chosen were in complete contrast and of unequal value; but both revealed the considerable acting resources the society has at its disposal. “Still Life” by Noel Coward was bravely attempted, but this play seems not to be wearing well, and it tends to fall to pieces in the actors’ hand.?. The texture of the serious love affair is far too thin, nor is the disaster revealed in Scene 4 significant enough for the players to be able to carry the audience very far with them. At times the best Mr Coward could do was to suggest two conventional people making brittle conversation about something idiotically unreal. Isabel Jones as Laura Jesson, and Robin Gurnsey as Alec Harvey were sufficiently accomplished to overcome most of these difficulties as far as this was possible. Isabel Jones played herself into her role, and Robin Gurnsey acted with a confidence that was reassuring. They made a charming picture; their entrances were arresting, and they were the perfect contrast to the other characters in “Still Life.” Mary Baxter gave an unruffled performance as Myrtle Bagot, the refreshment room attendant. Her practised and unemphatic acting enabled her to realise all the possibilities of her part, and in this ample vein of comedy she was ably seconded by David Law as the porter Albert Godby. Mr Law enjoyed his role and communicated his enjoyment in a delightful performance. He made a great deal of noise and aerated the play with positive gusts of common sense.

Beryl Waters was played by Lorna Gunthorp in a suitably bedraggled manner, and David Lorking made an alert and impudent sweet-seller. “The Browning Version” was a strong presentation of an extremely moving play. Here all the parts give scope for development and provide material for strong and convincing acting. The deep attention of the audience throughout proved the effectiveness of the play and of the treatment accorded to it.

As Andrew Crocker-Harris, Bill Scannell was outstanding. Examined closely, this pedantic schoolmaster with his positive talent for unhappiness, his endurance of injustice and of a crushing routine, is scarcely an engaging figure. It is hard to see how he could be made interesting or attractive. Mr Scannell, however, was able to show clearly that there was something fine and humane in Crocker-Harris’s painful stoicism. This was sensitive acting full of controlled imaginative sympathy. Milly, the wife, as played by Wendy Holtorf, radiated in icy-mannered coldness that never failed to produce its effect, and Roy Rainer was well cast as Frank Hunter; his interpretation had a warmth that was always generous and welcome. John Taplow’s role was not as easy as it looked. In the Upper Fifth everything makes life difficult, including the crude choice of Aeschylus as a set-book. In spite of these drawbacks, Alan Moore gave a commendable performance. Ross McPherson, though always an effective actor, was perhaps too genial for so designing a character as Dr. Frobisher. The production of both nlays maintained the high standard set by the society. The noises off stage in ‘Still Life” were hi hly successful; lack of room was skilfully counteracted, and particularly in “The Browning Version” an effect of spaciousness was produced. The plays will be repeated this evening. —C.E.S.