The Winslow Boy

Press, 25 September 1989, Page 8

The Winslow Boy

THE WINSLOW BOY by Terence Rattigan, directed by Lex Matheson at the Repertory Theatre, 8 p.m., September 2330. Running time 2hr 40min. Reviewed by Judy Cleine. The Winslow Boy is a play of elegance craftsmanship and charm. Overtly about the right of an individual to challenge the power of the State — the Admiralty charges the Winslow boy with theft and has the power to refuse him avenues of public appeal — the play’s real strength is in the gradual realisation and development of its characters. As the Winslow case proceeds, Mr Winslow’s arthritis (or gout) deteriorates and all the Winslow household love, waver or fall by the wayside according to moral convictions. It is a study of people engagingly enclosed in a battle of ideals. The opening night of the Repertory production got off to a bumpy start — some muffed lines, over-cueing and inconsistent energy levels — but the warmth of the performances, particularly those of Sonja Williams (Catherine Winslow) and Craig Cooper (Dickie Winslow) did much to reverse this. Whether by instinct or the sure direction of Lex Matheson, both displayed a good feel for the period and their parts — bluestocking and dandy respectively — without ever falling over into caricature. This was a strong point of Matheson’s direction throughout. The easy route (if all else fails play it for laughs) was not taken. The humour of the play arose naturally out of the human foibles of the

characters and not at their expense. At times some of the players fell a little short of the dramatic potential of their roles. Mrs Winslow’s appeal for domestic rather than public success did not find the passion it needed. The addition of good posture to an otherwise acceptable performance might have lent Helen Stockwell the necessary air of dignity. Similarly the disclosure of the final verdict by Violet (Frances Stirland Mitchell), while engaging in character, lacked the vocal energy and sense of occasion it required in order for the rest of the play to flow into its neatly tailored .concluding coda. Graeme Robinson as Sir Robert Morton gave a powerful rendition of the defence lawyer as inquisitor, but his performance thereafter was correct rather than commanding. Pearl Carpenter found the right level as the busy female reporter and Colin Alexander was consistently firm and convincing in his role. Israel Armstrong, the boy around whom the drama unfolds, deserves mention for being simply a straightforward boy. A nice honest performance. The splendid set (Lex Matheson and Sheryl Cooper) was full of the busy paraphernalia of a comfortable Edwardian home and provided an attractively structured acting space. There was much natural visual appeal in the placing of furniture and people. An extra delight was the inventive choreography by Sheryl Cooper. All in all a pleasing, if not challenging, production.