“The Whole Truth” Pleases First-Night Audience

Press, Volume XCIX, Issue 29170, 2 April 1960, Page 15

“The Whole Truth” Pleases First-Night Audience

“The Whole Truth,” the Repertory Theatre Society’s latest production, pleased the audience at the Repertory Theatre last evening. Philip Mackie’s thriller follows an unusual course, in that the identity of the criminal is obvious to the audience, who have seen and heard everything. The point of the play is that guilt is cleverly shifted until suspicion rests on an innocent person.

Last evening the play started slowly. There was a good deal to be explained in the first scene, and the three actors on stage then were obviously feeling some strain. “The Whole Truth’’ came to life with the appearance of the designing evil genius, as played by Trevor Pitt. After that the air of tension was generally well maintained. Mr Pitt did not find the role of Carliss very difficult. It offered no new problem; for, after all, he has worked out this kind of psychological puzzle before and on a much higher level. All that need be said is that his acting was both convicing and polished.

Earnestness marked Balfour Dingwall’s playing of the role of Lewis Paulton. He struck the right note once trouble began to

gather round him and is to be commended for sustaining so bravely and exhausting part. Shirley Magill might have shown more animation in Act I; but she responded competently in the later, more emotional scenes. The police in “The Whole Truth” were just like proper policemen. They even earned some of the laughs that the majesty of the law iiKreal life sometimes provokes. As Inspector Brett, Edward Kelly questioned everyone firmly but kindly, and brought out the pattern of the play with admirable precision. The silent support of Richard Harvest was also impressive. Yvonne Arnold appeared briefly as the visitor, Marion. Her not very pleasant task was to make the last half hour of Marion’s life as offensive as possible to everyone, and this was quite an enthusiastic performance. Judy Garland, too, acted the part of the Dutch servant with her usual capability. “The Whole Truth” was produced by Ross McPherson, and the setting designed by Tom Taylor. Further performances of the play will be given at the Renerty Theatre every evening next week. —C.E.S.