"LOVE ON THE DOLE"

Otago Daily Times, Issue 23202, 28 May 1937, Page 10

"LOVE ON THE DOLE"

A DRAMA OF THE DEPRESSION

The provocative drama of unemployment and its pernicious effects, "Love on the Dole," which Mr Walter Greenwood . and Mr Ronald Gow have in collaboration conjured out of the former's novel of that name, was presented last night in the Concert Chamber of the Town Hall by the Arts and Drama Class of the Workers' Educational Association. It was a gallant attempt, commendable in many respects, but in none more than in the admirable manner in which its successful production was contrived by Mrs Ailsa Stephens in the face of the innumerable difficulties which face anyone who from necessity or choice uses the Concert Chamber stage for a full-length play. The play itself is arresting in both quality and content. In fact, it would be easier to praise this play extravagantly than to do it justice. When a realist like Mr Greenwood gets into the theatre and makes himself heard his voice is apt to reach the heart and confuse the judgment. That is what happens with "Love on the Dole." The play last night, although the players hardly managed to achieve a striking success in the realm of strict theatre, was an intelligent and effective piece of work. The message of the author was conveyed in unmistakable terms, and there was hardly a character that failed to make some sort of an impression. This was largely due to the fact that "Love on the Dole" has been fashioned not to skate around the thin ice. but to ,go right over it. Realism and sincerity not only have the first and last words, but they are never far from the play's centre, and even when there comes a slight descent into Drosiness they are sufficiently close at hand to keep the discursive passages fully enlightened. It is all very serious and determined, but small, if satirical, comedy, and some of the theatre's flashier self-conscious experiments bring the groundlings on the one side of the footlights into touch with the groundlings on the other, but always the play's strength and distinction remain clear. There is a message and a clear call that will not be denied. The cast required in "Love on the Dole " is an extensive one, and average merit distinguished the performance rather than the contrast of very good and very bad. Miss Phyllis Maden, in the arduous role of Sally Hardcastle. combined the grimly designed with the genuinely felt in competent fashion, and concluded a very fair night's work with a fine determination and conviction. Mr George Edwards, too. seemed to have a good grip of his part, and could have achieved an unusual triumph with a little more of the Socialist visionary's all-consuming enthusiasm in both mime and speech. Mr Harry Westwood's Mr Hardcastle, a man broken by unemployment and poverty, was vigorous and full of meaning, and Miss Jennie Griffiths handled the role of the wife competently, except for an almost complete ignoring of her biggest moments. Mr Leslie Weatherall did well with the difficult part of young Harry Hardcastle. He emphasised the pathetic tragedy of his plight with occasional flashes of genuine artistry. The witches of Hanky Park. Miss Elizabeth Laing, Miss Helen Weatherall, and Miss Mary Jackson were vivid enough, although a trifle inarticulately presented, and Miss Myrtle Ryalls drew an interesting portrait of the unfortunate Helen. Mr George Marks's Sam Grundy was flashy and brutally wealthy enough for anything, and was enhanced bv a varietv of gestures and attitudes which gained conviction from their exaggeration. Others in the cast were Miss Eleanor Westwood, Miss Alice Sheoherd, Mr Charles Lorden, Mr Don M'Kenzie. and Mr William Evans.