“MAN FROM TORONTO”

Manawatu Standard, Volume XLVIII, Issue 185, 5 July 1928, Page 3

“MAN FROM TORONTO”

PLAYS CLUB’S SUCCESS. BRIGHT PLAY WELL ACTED. “The Man fnom Toronto” is a wholesome littlo comedy eminently suitable, fog amateurs. It has none of those situations necessitating players of advanced histrionic ability to command and handlo them; it has none of the bard brillianco of Lonsdale or the polished vulgarity of Somerset Maugham or Noel Coward. But it is refreshingly English—the gentleman from Toronto at times convinces one that out in the lone stretches skirting the blue ridged mountains you do find some of the joys that help to make life worth while —and therefore charming; wholesome enough to overlook the unpretentious,. rather unoriginal, pilot, and not to bother very much which ol the modern playwrights the author may be. “Jane” was the Plays Club’s first venture. But “The Man. from Toronto” proved quite an advance —in the quality of tho production from a literary point of view, the quality lof the acting and tho quality of the mounting. This being so, the first of the three nights’ season at the Opera House afforded quite a surprise for thoso interested in the amateur players’ efforts; one was pleased to see that there was lacking practically all evidence of the inevitable scrappy rehearsals and that there was lacking tho hoom of the prompter’s voice from the wing. Which all reflects on the ability of Mr A. Stanley Warwick as producer and actor. Mr-War-wick has quite an interesting, sound coterie of pincers who have developed enormously since the days of “Jane,” which gives the impression that they will be able, to go one better each timo and eventually attempt Milne, Shaw or even Pirandello. In the meantime, the type of play such as “The Man from Toronto” is suiting them perfectly; the rich rancher who crosses tho “pond” with the idea of marrying a widow simply because his uncle left a huge fortune and said uncle had his own ideas about marriage; the pert, attractive widow who vows not to make a second mistake and dresses up as a parlour maid in order to discover the true character of the rancher; two sisters who also arrive in England and in order to share in the fortune must see that the marriage takes place; the two or three other people who fit in quite well but who have no vital bearing on the story; tho happy ending which is made so obvious right from tho play’s beginning. “The Man from Toronto” was one of London’s war-time plays; there were not many theatrical failures in those excitimr days, and in 1920 the “Man” drifted out to New Zealand per medium of a sound English, actor, Mr Georgo Tully. There will be many to remember Mr Tully’s artistry. As to the Plays Club’s presentation. One found the actjng of Hancpck as the widow, and the acting of Mr Amos AlcKegg as the man from the .Canadian capital quite impressive and convincing. The two worked splendidly together and probably the effect was added to by the combined torcc of their rather striking personalities. Miss Hancock was on the stage practically the whole of the evening, but she never faltered under the armour of good experience before the footlights and natural intelligence. Miss Hancock knows how to look graceful, stand gracefully and walk gracefully—in short, to look at her case. Mr McKegg employed a pleasant American accent —in contrast to his two sisters who were emphatically English in speech—and played the single-hearted rancher with a great deal of understanding. It is a star role, along with Miss Hancock, and Air •McKegg had many opportunities; it is a part that wins the affection and sympathy of the audience and when that is the case an actor or actress, amateur or otherwise, need never worry. P

Miss Winifred Scott favourably impressed in the “Jane” production. A good speaking voice and .a positive personality are hers, and her part of Ryth Wiinbush in “The Alan from Toronto” gave her a chance to create and dominate one or two effective scenes. She was tho sister who did not .want tho dollar' fortune to go to strays and waifs; but her methods nearly lost everything. It was quite a good study on the part of AJiss Scott. Aliss Lome. Ferguson’s role of. Ada Wimbush called for a mixture of demurencss and “pep” of the healthy modern Canadian flapper. Aliss Ferguson has a good stage presence and a very nice speaking voice and was quite a success in-her characterisation. Aliss Phyllis A'lay was a pert, trim housemaid, who acted well in one or two flirtatious episides with the- widow’s cousin. Aliss Stella Petersen was another success as Airs Hubbard, and Miss Daisy C’app was her fresh-looking, giggling daughter. Air J. W. G. Davidson was Air Priestley, the -widow’s guardian and legal adviser, but the tempo with which he treated the role could at times have been accentuated. Air W. H.. Wilson was Bobbie, the widow’s cousin arid he most capably invested the part with tho irresponsibility the author intended. Mr Warwick has produced “The Alan from Toronto” on other occasions in Wellington, playing tho role of Air Priestley. He has ipmcthing more ambitious in view for the next offering by the club. “The Alan from Toronto” will be presented to-night and again to-morrow evening, when equally enthusiastic audiences are expected.