Better Impression By Dr Welby

Press, Volume CX, Issue 32392, 3 September 1970, Page 3

Better Impression By Dr Welby

There was a time, not long ago, when this viewer felt that even watching “Peyton Place’ 1 would be preferable to sitting through yet another drama about a kindly old doctor and his impetuous and impatient young assistant and first acquaintance with “Marcus Welby M.D.” did nothing to alter this view.

But Tuesday’s hour with Robert Young did not produce the expected violent desire to throw something at the set “The Foal” did not start promisingly. The play settled around an autistic little boy, the danger he presented to his new-born sister, the conflict between the parents as to whether the boy should stay with them or be sent to an institution. Only a few weeks ago, in the “Wojeck” series, there had been a handicapped child who had endangered the life of her little sister, and the parents had also fallen out over a similar issue. Then “The Foal" looked likely to develop into partdocumentary on methods of treating autistic children, part propaganda for the release of more money to treat them. But in the end, it became quite an interesting little story, completely predictable, perhaps, but handled with an unexpected degree of reticence. The little boy was captivating and convincing, Marcus was responsible for another job well done, and everyone was happy: including this viewer, who had not expected to be. * * *

it probably does rather younger and less able people. It was an interesting discussion, for all that, yielding a quite wide divergence of opinion, an admirable marshalling and expression of views. » * *

At the end of the evening there was a fine performance by Mai Zetterling in an inconsequential but amusing little monologue in the series “A Touch of Venus.” But for this viewer the best production of the evening was again “The Musicmakers.” The singing, as on the first show of the series, was most attractive and consistently good; Suzanne Donaldson again displayed a delightful flair for coriiedy; the settings were outstandingly good, especially in the “Oom Pah Pah” number from “Oliver!” and the whole production was professional and almost flawless.

Lionel Bart’s bouncy music and amusing lyrics were perfect for such a show. The backing of the band was superb: but we still long to hear it, on its own, in a couple of numbers before the series ends.—PANDORA.