“DUET FOR TWO HANDS" --SPLENDID DRAMATIC WORK

Gisborne Herald, Volume LXXV, Issue 22813, 7 December 1948, Page 6

“DUET FOR TWO HANDS" --SPLENDID DRAMATIC WORK

A cast of four principals, one of whom was the producer, and one minor player, presented for the second time in New Zealand "Duet for Two Hands,” by Mary Hayley Bell, at the Opera Flouse last “night.

To say that they gave a fine performance is true, but this small, cohesive group did much more. It succeeded where amateurs so often fail, in achieving a depth of silence for the mot*e moving passages of the play that was unbelievable when one remembered the audience’s early restlessness,—which must have made the opening act decidedly difficult for the players. Societies, such as the G.H.S.O.S. Little Theatre, which presented the play, feel that they are in honour bound to stage serious and experimental plays from time to time and the decision to bring this play before the public has been a bold one. Few, save some keen play-readers, have read it; it has not been picturised, npr has it been a novel. No other society save one, has done it in New Zealand. And added to this it is a drama, which word will keep people who enjoy a "light evening's entertainment” away from “Duet for Two Hands.”

The Cast

The cast is: Stephen Cass, played by John Kitchen, also the play's producer; Abigail Sarclet, Audrey Blogg; Edward Sarclet, David Lee; Herda Sarclet, Patricia White; Fletty, Myra Muis. These five people ably presented last night a drama which moved from climax to climax without ever descending to anti-climax. At each slow curtain one wondered whether the pitch could be regained in the next scene—and it was.

One does not often see an amateur performance where no player appears conscious of his or her hands; where no player is awkward in movement or gesture, but these five people have completely conquered such faults and in addition every one was completely audible from the back row of the dress circle. These are technical matters which, perhaps, do not give the spiritual side of the play enough credit. Yet competent stagecraft was undoubtedly the chief reason for this play’s artistic success.

Emotional Story

It is an emotional play; and it is not easy to be swept off one's feet into the poignant, eerie, windswept atmosphere of a castle in the Orkney Isles* by people whom one passes daily in tire street. But these people did take their audience with them, and did, somehow, manage to create the atmosphere and maintain it throughout. It is difficult to individualise. The honours undoubtedly go to the producer who has designed the set and furnished it, produced a drama and taken the male lead to give his best performance in Gisborne, so far. As I the sensitive poet his hands are always j uppermost in his mind; he accompanies ! Abigail for her song with poise; and ! his last, violent scene with her father [is heightened by his delicate delivery I of the play’s last few lines, particularly I the tag-line. ! Audrey Blogg is a newcomer to the boards in Gisborne and carries a most difficult role with an assurance and poise that is unusual. She is versatile, too, and stands gracefully at the grand piano to sing a charming little song without a trace of nervousness. In- i dividuality was perhaps the keynote of her interpretation, which was never ) static. Her tempestuous scenes, r especially in her one with Herda as she tells her father’s secret, were very fine. \ Edward Sarclet’s portrayal fell to ‘ David Lee, who had thus to manage 5 one of those difficult parts which can easily be marred by too heavy a touch. Drama can so easily become melodrama and Mr. Lee could have overdone his interpretation of this unusual, wicked but sometimes likeable man. He has a l good sense of theatre and does char- ' acter work with excellent understand- * ing. His backward-leaning stance, if faintly reminiscent of Dr. Einstean in . “Arsenic and Old Lace,” was nevertheless a good touch.

A Good Delineation Patricia White was always graceful, always the perfect hostess in her home and, like her co-players, had the underlying spirit of the play. She created a picture of infinite sympathy and tenderness with Abigail when the latter’s emotional confession was given; and her slow comprehension of Stephen Cass’ entrance and her exit following it were excellent.

By contrast with the other, four players, Myra Muis did not have a big assignment, but her fluttering entrances as the housekeeper provided moments of relief from the central theme of the play. Her cheeky toast “The back o’ my hand to you,” and subsequent exit were done with just the right amount of disregard for her employer.

Audrey Harvey was prompt for the play.

There were some unusual features about the play; several times the curtains opefied on a crescendo in the entr’acte music and this was very effective; the curtains were all slow ones, which seemed to be in keeping with the spirit of the play; and the arrangement of each group seemed to have particularly good perspective—the eye travelled naturally from one speaker to another.

The set, depicting Forsinard, an 18thcentury castle in the Orkneys, midsummer. 1904, was delightful and drew unstinted applause from the audience as the curtains parted for the first time. Lighting was also effective and makeup good. The play will be presented again tonight.