REPERTORY THEATRE

Sun (Auckland), Volume 1, Issue 3, 25 March 1927, Page 11

REPERTORY THEATRE

AUCKLAND MOVEMENT A CHANCE FOR EVERYONE “Our object is to give everyone who shows any ability for stage work a ! chance to show what they are made of. I don’t care where they come from or who they are—if they show promise they will be given a chance. “If the keenness of an able committee and the efforts of good amateurs can bring the Auckland Repertory Theatre movement to a successful issue, then I think ours should be a great success.” Mr. Kenneth Brampton, organiser and producer for the Auckland Repertory Theatre movement, is .a confirmed optimist. His life and experiences on the stage have made him so. But his optimism for the repertory movement in Auckland is not without some foundation. At a recent meeting held at the Auckland University 300 people who were interested were turned away. Auckland’s Enthusiasm “There is an extraordinary enthusiasm in Auckland for the movement,” said Mr. Brampton in an interview. “My own opinion, as far as New Zealand is concerned, is that the better class of play would be received in the Dominion on a commercial b a s is. If our plan is a success I hope to take a repertory company on tour through N e w Zealand. Experience h a s Kenneth Brampton shown that plays of a literary value which have failed abroad have been a success in this country.” Since Mr. Brampton took over the Auckland Repertory Theatre movement it has been completely reorganised, and the first play under his jurisdiction, Bernard Shaw’s “ You Never Can Tell,” will be produced on April 20. He has an ambitious scheme ahead, and hopes to do Lord Dunsany’s “If!” Later on he may try “ Outward Bound,” by Sutton Vane, and “ Anna Christie,” by Eugene O’Neill. “ If we can obtain the correct type we may try Sean O’Casey’s ‘Juno and the Paycock,’ but that of course is j indefinite. I want to touch as, many fields of repertory as possible,” continued Mr. Brampton. “ I want to go from Shaw and Barrie and Galsworthy to such men as Lord Dunsany and Eugene O’Neill. By producing such plays we will get contrast, and that is what I want. I do not want plays to be shockers. Not Dull “ I want to get the idea out of the heads of the men in the street that repertory means something dull and drear. It is quite the reverse. There is a great deal being written to-day by comparatively little-known men.” At the meeting, which was held at the university, the Hon. G. Fowlds, definitely associated the repertory movement with the university, and said that it was one of the best forms of education because it did not set out to educate. The movement meant education by amusement, which was the best method. The ability of the Auckland people who are associated with the repertory movement is distinctly above the average, said Mr. Brampton, and the membership is large and enthusiastic.

That, he remarked, was the finest basis on which one could work. Eventually he hopes to make the Auckland association as good as anything of its kind in Australia and New Zealand, and perhaps better. A Separate Theatre At present Mr. Brampton is busy with the rehearsals of “You Never Can Tell,” but he is also making plans for the future. The question of scenery is occupying his attention, but he has a scheme afoot for modern settings. Then there is the question of a separate repertory theatre. At present the association uses the Town Hall, but in the future as funds permit it is hoped to have a separate theatre built. That may be a matter of years, but as the movement is growing in leaps and bounds in New Zealand as in other parts of the world, it may not be long before Aucklanders have a repertory theatre of their own. There is a wonderful field for the repertory movement.. Each year there are many plays written which are scarcely suitable for the commercial stage but which can be handled with success by amateurs. In London there has been a large growth of little theatre, repertory and Sunday theatre movements, and these organisations try out new and promising plays. Many well-known actors and actresses give their services free for these plays, and managers in search of probable successes always attend in the hope of finding something new and out of the ordinary which will appeal to the public. Personal History In Mr. Brampton the Auckland society has an actor of ability and wideworld experience. He was born in London, and at an early age he made his first appearance with Marie Tempest in “English Nell” at the Prince of Wales’s Theatre. Later he played with Edward Terry, H. B. Irving and Jimmie Welsh. After a tour of Africa, India and the Far East, Mr. Brampton came out to Australia and New Zealand with Clarke and Maynell. He has played through New Zealand many times, the last time being with Muriel Starr. It was during this engagement that he was approached and decided to associate himself with the Auckland Repertory Theatre movement, for which he is working earnestly at present.