Superb production

Press, Volume CXIV, Issue 33444, 28 January 1974, Page 20

Superb production

“Awatea,” by Bruce Mason. Directed by Mervyn Thompson for The Court. Repertory Theatre. January 26 to February 2. Running time: 8.00" to 10.30.

“Awatea” is that rare phenomenon. a production which throws equal credit on its author (Bruce Mason) and its director (Mervyn Thompson),

'without either of them upstaging the other. This peculiar sense of harmony per'meates the whole show: the .cast and the play seem to have run away together, and [the result is one of those [uniquely atmospheric occasions which can only be appreciated by those present. From the moment one enters the auditorium, one is caught up in the authentic atmosphere of the hui: the sound effects, some recorded specially by the cast, the rest done live from backstage, are superb. The curtain rises, and immediately one is engaged in the humour of the[ preparation of the hangi. The acting, right from the start, is impressive: Aroha Chick has a natural stage talent which deserves more than a bit part, and some of the rest (especially Patricia Ruki and Doug Harris) are very good. too. The whole thing seems an assured success even before a principal has entered.

The first act is remembered for the intimate humour of the Maori scenes, the boisterous hilarity started by Pat Evison (the bicycling postmistress), the vitality of the community preparing for the annual hui to welcome back the only local Maori bov who has made it in the pakeha professional world, and the awesome dignity of the blind Maori patriarch, powerfully played by Don [Selwyn. In the second act, the visual impact is arresting. The set in particular looks its best in subdued light, and; the mood of apprehension'

is engrossing: the hui cannot begin until the arrival of Matt, a failed medical student who has posed as a doctor to tlie locals, but is now wanted by the police. The entrance of Matt is one of the most stunning moments I can remember in the Repertory Theatre: brilliant use of low-level front-of-house lighting picks out the muscular, towering figure of Thomas Ratima, while the young men do their welcoming peruperu. Don Selwyn and Thomas Ratima are' a perfectlymatched pair as father and son: the scene in which they meet is deeply moving, and their voices have a beautiful mellow resonance. Jeremy Astley. in the different role of the detective, contributes to an excellent scene with Don Selwyn. Most of the minor Maori parts are done commendably well, but special mention should be made of Cathy Downes, who puts a lot of vitality into each of her appearances. The last act belongs to the two principals, a confrontation between the postmistress and old Paku, who finally learns the truth about his son. Don Selwyn’s colossal presence fills the whole theatre here, and Pat Evison (who at her best is verv much a stage actress, which one might forget after her television roles) here shows how good she is at serious work, too. The large opening-night audience was very responsive, and the curtain calls the cast took show the popularity of this superb production. —H.D.McN.