'Bullshot Crummond’

Press, 27 February 1984, Page 8

'Bullshot Crummond’

“Bullshot Crummond” by Ron House and Diz White, directed by Penny Giddens for Repertory Theatre, February 25 to March 3. Running time: 8 p.m. to 9.45 p.m. Reviewed by John Farnsworth. Who, these days, remembers the exploits of the great Bulldog Drummond? Probably only a dwindling band of devotees. Nonetheless it is from his fictional adventures that this highhanded burlesque is drawn. Fortunately, the play transcends its origins to become an amusing melodrama in its own right, especially in this production. There is certainly plenty to parody. The pre-war Drummona novels celebrate the truly British conventions of stiff upper-lip, upper class, blithe chauvinism (in both senses of the word), which recall the world of “Biggies” and Boys Own. Nowadays, these P™ v< * e W amlsement more than in-* dighation, and it is not

surprising to find both play and performance are pure ham. All one needs to know of the plot is that the wicked spies, the von Brunnos, have designs on the secret formula of doddering Professor Fenton. It is up to Bullshot Crummond, sporting the combined abilities of Clouseau and Sherlock Holmes, to thwart them, accompanied by Fenton’s daughter. It is enough to add that the action lurches rapidly from one implausibility to the next. The play succeeds because the players exude a sense of period style, imagination and enthusiasm, even when struggling with a somewhat variable script. Under the circumstances some inevitable coarse acting and awkwardness can be largely overlooked. For the small cast, it is a hard night’s work of quick- . change routines. The heav- [ ily-disguised Dimitri Gabara, for example, heroi-

cally tackles seven parts, and occasionally the strain shows as he ranges from an unconvincing professor to an excellent Marovitch and waiter.

lan Murray captures an appropriate iciness as Otto, aided by Felicity O’Malley as the unpleasant Lenya. Peter McKenna plays the jut-jawed, pipe-smoking Crummond with real aplomb, while Debbie Marsh is suitably spiffing as Rosemary Fenton. The cast have a lot to thank the technical crew for, from imaginative scenery to apt props and sound effects. These are also exploited well by the director, Penny Giddens, to introduce pace, surprise and humour, although occasionally she misses opportunities for character development. Altogether, it is the confidence, pace and enthusiasm of this performance which makes it an enjoyable start w the Christchurch Festival. Topping stuff.