Fine performance in ‘Beaux’ Stratagem’

Press, 9 June 1980, Page 6

Fine performance in ‘Beaux’ Stratagem’

By

HOWARD McNAUGHTON

“The Beaux’ Stratagem,” by George Farquhar. Directed by Don McAra for Christchurch Teachers’ College. Main Auditorium, Dovedale Avenue,. June 6, 7. 10, 11, 12. Running time: 8 p.m. to 10.35 p.m. Restoration Comedy was about 40-years-old when Farquhar wrote this, his last play, in 1707. Audiences knew what to expect of the genre, but to the traditional range of character types' and fortune-hunting stratagems Farauhartjjdded a strikingly realistic ending with a social honesty that it rafe’lpr the period: the play ends'-not with the obligatory reconciliation but with the separation of the central couple. The pivotal role..is Mrs Sullen, who articulates the terms of the sex' war and chooses divorce at the end. Rosalind Easton’s treatment of it is splendid throughout, elegantly drawing all the layers of meaning front

her lines, which are pointed with intelligence and precision; many of her scenes achieve a comic brilliance that would grace any stage. With Dorinda (Chris Brooks), Mrs Sullen makes a delightful scene of comparing .the beaux; from Arqher (Bruce Kleyer) she draws / several episodes which are noticeably his best. The men of her house, Sullen and Scrub (Tony O'Connor and Tim Byrne) create a funereal domestic atmosphere • facially,- an effective contrast with. David Hodgson’s popular lightweight figure of the FrancoIrish priest. Mrs Sullen is the key to the play; her scenes call for mannered subtlety in both dialogue and movement, with considerable acting refinement. No production with ■ a Mrs Sullen of this calibre can go far wrong, and this is one Teachers’ College major production which makes good general entertainment as well as

being educationally valuable. If the scenes with the ladies' in their country house are mostly of a high standard, those involving the men at the inn are disappointing. These are certainly less important and they are left behind by the central action, but the firstact exposition is weak, Only Julie Affleck’s performance of Cherry, the landlord’s daughter, reaching a consistently high standard of comedy. The boisterousness of the, inn. scenes, which one might have thought easier than the passages of amorous dialogue, is scarcely suggested, but more confidence in the male cast will certainly improve this. The best male performance is in fact reserved for the last act: John Greenwood brings a mellow, .well developed voice to the role of Sir Charles, a tantatlisingly late appearance but . one which consolidates a strong resolution.