“UP THE POLE”

Press, Volume XCV, Issue 28268, 4 May 1957, Page 2

“UP THE POLE”

Opening Of Students’ Revue Four of the statu es which have, over the years, withstood so much student abuse, are the stars of the Canterbury University College students’ revue, “Up the Pole—or the Un-Godley Plot,” which opened last evening at the Civic Theatre. Captain Cook, in the hands of Wynne Raymond, becomes a leering old salt whose telescope doubles as a hip flask, while Captain Scott ic played, by Jon Elsom. as a very proper naval officer These two are in the pure white raiment appropriate to their floodlit state.

The years slip off Queen Victoria, played last evening by Ann Reeves, when she steps from her pedestal, and John Robert Godley (Bob Scott) is most impressive in his clothes weathered green with age. The plot concerns the theft, by the Secret Six —in Russian-type fur caps—of the South Pole. This is easily distinguished because it is striped red and white and all four points of the compass are marked north. As the evening progresses, the pole is left by the steps leading down to Godley’s night club under Cathedral square, is used as a hat-stand, is hidden in a bed in a maternity ward, and is finally restored to its rightful owners in the person of an American officer. Those involved during the search are a police tracker dog of a Labrador strain (Robin Frizzell), a constable and sergeant of police (Guy Neutze and Murray Alford), a plain clothes detective a barman, a chorus of nurses, a matron (Elizabeth Bromley), and several Yank sailors on leave from the pole—who deny any complicity. The producer, Mervyn Glue, sets the first scene of the second act in the maternity ward, with all the opportunities this affords for student humour. The scriptwriters, Graham Halligan and John King, don’t miss a chance. Godley’s night club opens in time for the last act. Here Elric Hooper, as a cabaret artist, brought the house down with a number which does not appear in the programme. His performance only barely over-topped that of Clyde Scott as Pelvis Wesley—assisted in his act by the singer who inspired his interpretation. Betty Cdrnochan is ballet mistress, Frederick Port is the musical director and conductor, additional lyrics are by Ralph Riccarlton, the stage manager is Rony Cooper, and the sets are I designed by Joy Machin and. Jon s