“THE GHOST TRAIN”

Press, Volume XCIII, Issue 27990, 9 June 1956, Page 2

“THE GHOST TRAIN”

THE STAGE

Series Of Climaxes

Impressive

REPERTORY SOCIETY PRODUCTION

Arnold Ridley’s thriller, “The Ghost Train,” was given a new lease of life by the Canterbury Repertory Theatre Society in its 139th major production at the Repertory Theatre last evening. Dialogue has been brought up to date, emotional extravagance somewhat curbed, and the action speeded up by judicious cutting. As a result “The Ghost Train” works up to a series of well-contrived climaxes, all of which the audience found impressive. In spite of the careful editing, however. “The Ghost Train” somehow retains the atmosphere of its period, the early twenties, and this certainly gives the play some of its most engaging moments. These are perhaps best exemplified by the ambiguous Herbert Price in his second appearance, complete with false whiskers, and by Julia, whose duplicity is crowned by her expertise with pepper and pistol in the‘last scene.

All the .members of the company acted well in this even, unforced production. In particular Peter Blaxall was admirably cast as the irresponsible, irrepressible Teddie Deacon. Mr Blaxall’s portrayal revealed a nice blending of the idiotic, as seen in the early Wodehouse stories, with the tantalising naughtiness of “Saki’s” gilded heroes. None of the other men had quite such a lively and rewarding part: but Tom Kincaid never failed to con vince. as Charles Murdock on his unusual honeymoon trip. Here he was capably supported by Jennifer Mooney in the role of Peggy, his wife. The stationmaster at Fal Vale was played by James Sparrow, who on sev eral occasions held the centre of the stage with chilling effect. Of the role of Richard Winthrop it may be said that it seemed to demand acting of a more flexible type than Ken Mcßeath gave last evening. Fred Masters played the part of the bogus doctor. John Sterling, with his customary discretion, and APan Coates was properlv abruot as Herbert Price.

All the comedy provided by the women in “The Ghost Train” came from Beryl Windsor in her admirable oerformance as Miss Bourne, the most elderly of the party stranded in the waiting room at Fal Vale station. It would be idle to speculate how the scene with the brandy flask could have been better played; and it is indeed fitting that the drama should con elude with the only remark Miss Bourne utters during, the whole of Act three. It is a sublimely inadequate comment, but it provides a splendid curtain.

All the emotions that Julia Price had to express make this role a difficult one. but Mary Hopewell acted throughout with considerable skill and cleverly sustained even those over-accented moments towards the end of the play. The noises from the station outside ♦he waiting room, the bells, the sound? of the train, were all that could be desired in a production of this kind Stewart Robertson and his 13 assistants off sta<*e have devised effects that art Perfectly realistic. Taken with the familiar if unbeautiful setting, thev provided the background for a mos: entertaining performance. This presentation, of “The Ghos Train” was produced by Frank Newman. —C.E.S. “BACKGROUND” DUNEDIN TEACHERS’ COLLEGE PLAY “Background,” a modern social play by W. Chetham-Strode. presented by the Dunedin Teachers’ College Dramatic Society in Christchurch last evening, provided both good entertainment and good acting. Although interest at times flagged, and some of the acting was inexperienced, the standard, considering the shortage of experienced actors at the college, was high. The theme of the play is divorce—its effect on the parents and on the children. Although not delving deeply into-the problems it portrays, the work does provide food for thought, especially on the effects of divorce on children.

The parts of the three children, a sensitive boy, an avaricious girl, and an idealistic younger daughter, were well cast. The parts of the parents, a career-inclined husband and an egotistical wife, were well played by Heather Leckie, as Barbie Lomax, and John Clarke, as John Lomax. The part of the nurse, the unifying link of the whole play, was well portrayed by Gwen Denham.

A string group played between scenes. The play, presented at the Christchurch Teachers’ College, will conclude this evening.