Good Impression Of New Producer

Press, Volume CVII, Issue 31441, 7 August 1967, Page 10

Good Impression Of New Producer

Although his production of “The Beaux-Strategem” was not entirely flawless, enough was seen of the considerable talents of Dick Johnstone on Saturday night to make it clear that the Canterbury Repertory Society is extremely fortunate to have him in its employment. Here at last is a producer with a sense of style and the ability to translate that sense into physical reality. What is more, stylishness was not allowed to bring in its wake debilitation; Farquhar’s difficult play was given with rumbustious dash by a team of actors who were obviously enjoying themselves —especially those who, nicely produced, were given the opportunity to establish such delightful rapport with the audience during the scene changing rituals.

One of the strongest points of the production was its inventive, well-rehearsel physical business, which was executed with ease and precision. And none of this smacked of superimposition but belonged with the grain of the play. The integrity of the produciton was evident in the fact that, although he has the ability to make an audience laugh, Mr Johnstone does not attempt to force laughter from unfunny dialogue. Farquhar’s saga of bed and bedlam trembles at times on the edge of serious thought, and this was not passed over as irrelevant On the other hand, perhaps even more realistic air might with profit, have been allowed into the performance.

Certainly, a number of individual players appeared to be wearing their characters on their elegant sleeves; even in Restoration comedy inner conviction is necessary and this Merilyn Hey, Robert Blake and Richard Harvest in particular, failed to achieve. This was a pity, for each of these players has talent particularly Miss Hey, who looked superb as Mrs Sullen and who threw herself into the amorous scenes with voluptuous abandon. Her ability to point an innuendo was also pleasing, but at times she tried a little too hard, a criticism that applies to a good many of the younger members of the cast Once they relax and realise that this play, in spite of its meandering plot and slow development is inherently amusing enough and lively enough to win an audience without extreme exertion from the players, the performance will be even more delightful than at present A leson in histrionic economy was given by Harold Pointer, who in the amusing part of Scrub fetched more laughs with less effort than anyone else in the cast Equally pleasing was Cecily Polson whose Cherry was utterly captivating all innocent sexuality, childlike animation and vivacity, and beautiful movement. As Aimwell and Archer,

whose amorous arrows are, as their names suggest, consistently on target, Robert Blake and Lloyd Scott were a wellcontrasted pair and, considering their inexperience, both did very well. Lloyd Scott, in particular, gave himself to the courtship scenes with a refreshing, and for some members of the audience, alarming vigour. Good supporting performances were given by Heather Eggleton, Alex Aitcheson, Terry Whitehand and Alex Lojkine, though the latter was forced to play too many scenes in profile. Charming and appropriate music for harpsichord was arranged and played by Derek Sanders, colourful costuming was created by Madge Rands, and adequate sets were prepared by Valerie Gould. It was especially pleasing to see so many lightning changes of set, though the price of flying in backcloths so close to the proscenium was some rather uninteresting movement along the horizontal plane. “The Beaux-Stratagem,” the first Restoration play to be presented in Christchurch for many years, played to a large and enthusiastic house. It will run until Saturday. —M.G.T.