ARTS AND ENTERTAINMENT Theatre: No 200 Is “Saint Joan"

Press, Volume CVI, Issue 31091, 21 June 1966, Page 10

ARTS AND ENTERTAINMENT Theatre: No 200 Is “Saint Joan"

As its 200th subscription production and its classic work for 1966, the Canterbury Repertory Society will present Shaw’s “Saint Joan,” which opens in the Repertory Theatre on Saturday. Actors think “Saint Joan” as “an actors’ play,” producers as “a producers’ play,” and the audience as an exhalted piece of gripping and inspiring theatre, writes the producer, John Kim. Certainly, no matter how small an actor’s role the character comes very much to life in a most satisfying way and any producer would revel in the opportunity to work with such marvellous material, while an audience never fails to be enthralled by the whole play. Shaw disavowed any intention of re-creating a popularly romantic, pastel - tinted portrait of the Maid of

Orleans; instead he gives us a documentary account as seen through the especial filter of his own particular susceptibilities. It is a picture presented with unshakeable impact and vigour.

Part of the force of the play probably derives from the exact way in which he found the example of the life of Joan of Arc to mirror his most profound convictions, so that while he is writing a documentary narrative a good story—he is also exemplifying a high moral purpose and making observations on the nature of man which have a universal application, and also on the society he has created and by the tenets of which he lives. SHAWS EPILOGUE Probably the most controversial aspect of the play has been the way in which Shaw has appended an epilogue to the story of Joan’s life.

Following the six scenes of the chronicle which gather a high emotional charge and which moves in a realistic way, comes a piece of dramatic writing which slices through conventional reality in the fashion of a good piece of science fiction to call Joan to the communion of the Church Triumphant as Saint Joan. The author states his point of view in a programme note to the original London production in 1924: “The Epilogue is obviously not a representation of an actual scene, or even of a recorded dream; but it is none the less historical. Without it the play would be only a sensational tale of a girl who was burnt, leaving the spectators plunged in horror, despairing of humanity. The true tale of Saint Joan is a tale with a glorious ending: and

any play that did not make this clear would be an insult to her memory.” BIG EFFORT There is a tremendous amount of work entailed in mounting a production of this size, quite apart from the very real problem in Christchurch of finding 23 accomplished actors to fill the male speaking roles. The production aims to make the events as real as today and as gripping as only the best theatre can be. The setting, by Maurice Askew, is a free-standing construction which thrusts past the proscenium into the auditorium to give the play immediacy. Set in the fifteenth century

and employing a diverse array of characters, several with costume changes, the play makes considerable demands on the time and talents of those responsible for the wardrobe. Costuming

is being treated by Maurice Askew as part of the total decor.

The cast is headed by Judie Douglass as Joan, with Ross McPherson, Bryan Aitken, Vincent Orange, Selwyn Hamblett, Alex Lojkine. John Higginson. Michael Morrissey, John Ballinger, Gerry Orchard, Joan Allard, Lionel Rogers, Tony de Vere, Gerald Lascelles, Mervyn Glue, Joe Waller, Peter Donnelly, Pat Smyth, Maitland Gard’ner, Derek Lowe. Richard Harvest, John Bach and Harold Pointer, with Ruth Aitken. Jan Farr, Madeleine Gordon, Shirley McGregor, Karen Elliott, John Jackson, Brian Gee, David Winfield and Richard Milburn.

A full eight weeks has been required of the actors for their rehearsal period, but even then their work must be most intensive.

While every minute of it is worth-while theatre, “Saint Joan” is a lengthy play, and although a number of cuts have been made in the text, performances will start at 7.45 p.m. The season will end with a matinee on Sunday, July 2. SUNDAY PLAY The next Repertory Sunday play will be a New Zealand play, George Crowe’s “A Box of Birds,” and will be presented in the Provincial Council Chambers on July 10. The play, which deals with the conflicts which develop within a sheepfarming family, will be produced by David Penny. Little Theatre

The Little Theatre plans to present three one-act plays Intended specially for family entertainment on Saturday, July 9. “The Overseas Expert” is by Eve Hughes, who wrote “Heads Will Roll,” recently published by the Christchurch and North Canterbury area of the British Drama League, and the revue "Silly Summer Season.” Its features are subtlety and satire. The producer is Alex Altchison, and the cast comprises Shirley Duffy, Beth Harris, Cara Ede, Denise Munro. Lyndsay Campbell, Pam Derrett, Jenny Sandrey. Denzil Downs, Bryan Hawky, Bill Derrett, Pat McDonald and Fred Reid. A comedy-thriller by Neil Grant, “On Dartmoor” is about an escaped prisoner and two middle-aged spinsters, and has a little of everything—comedy, suspense and a surprise ending. The cast includes Esme Howard, Yvonne Cooke, Robin Queree, Chris Jones and Percy Moore, and the play is being produced by Norma Anderson. Both these plays have been entered for the British Drama League’s festival later in July.

The third play, "Reprieve for an Angel,” is by the local playwright Iris Thomas. Set in a reform school for teenagers, it will provide the drama for the evening. Sue Garters, Shirley Duffy, Kathryn Hawkey, Linda Bell, Bill Derrett, Robin Queree, Craig Ashley, Craig Thompson and Gillian Duffy are the cast, and Jannat Aitchison is the producer. The three plays will be presented at the Aranui High School assembly hall.