“PUSS IN BOOTS”

Press, Volume XCVI, Issue 28371, 2 September 1957, Page 3

“PUSS IN BOOTS”

s Children’s Theatre » 1957 Play ’ The Children’s Theatre play for 1957, a brightly-coloured, boisterous presentation of Nicholas Stuart Gray’s “Puss in Boots,” opened at the Repertory Theatre on Saturday afternoon, and was received with acclamation by a big audience of young people. Most of the action of “Puss in Boots” takes place in a forest, and the shadowy atmosphere, which seems rather different from what has been aimed at in previous productions, has been cleverly suggested. However, there are other scenes beside woodland ones in “Puss in Boots”; the King’s garden, for instance, was most effective. It had the air of being a corner where it was always afternoon. Th! ogre’s kitchen, too, was seen to be subject to some surprising changes which would be better seen than described.

As usual in these plays, there was plenty of magic. The cobbler’s self-filling ale-jug was a great success, although it could hardly equal the ingenious lie detector which was an unforgettable feature of “Beauty and the Beast” two years ago. “Puss in Boots” is full of striking characters as well, and of them all, Puss, it must be conceded, is the most remarkable. Even the King and his attendants were put in the shade by Puss with his red sash and magnificent court suit trimmed with silver.

Masterful by nature, this unusual, talkative cat could be critical of affectionate just as he pleased. All this wdte amusingly brought out by Jeanne Edgar, who played the part with more skill and humour than many of her audience were always able to appreciate. With Puss in close attendance, lan Lund gave an agreeable performance as Gerard, the Marquis of Carabas. Although it is true that Gerard is really only a poor boy in search of his fortune, Mr Luad was perhaps a trifle too uniformly subdued in manner. Cobb and cobbler is another traditional figure who must appeal to everyone. Ronald Hawley filled the role of the benign, selfeffacing magician in an engaging way that was always pleasant to watch. Here, a contrast was provided by the rowdy ogre, who appeared on stage much more than life-size, but was mostly presented in a rather comic light by David Law. Mr Law had a task that was by no means easy, and he carried it out with uncommon address, for no-one in the audience seemed to be afraid of him.

Among the minor characters, a decided impression was made by Keith Ellis as Dandy, the royal bodyguard. This was a pleasing performance by a young actor, for Dandy, with his firm voice and his stock of long words, proved to be nearly as picturesque a figure as Puss himself. Joan Larsen was a charming Princess Isobel, supported by Marie Nalder and Marie McAleer. Other parts were taken by John Hendry, Derrick Hancock and Rhys Jones. “Puss in Boots” was produced by Neta Neale. —C.E.S.