New Play by Galsworthy

Sun (Auckland), Volume III, Issue 732, 3 August 1929, Page 24

New Play by Galsworthy

DULL PATCHES m A RACING DRAMA RUSH FOR SE"A*FS A new play by John Galsworthy is an event of real importance in the world of the theatre, and it is not surprising that there was a great rush for seats for “Exiled” at Wyndham’s Theatre, London. One of those who was unable to secure a place was Mr. Alec Rea, who has done so much to bring Galsworthy’s work before the public, writes the “Daily Mail’s” dramatic critic. The workmanship of the opening act is as neat as ever; desultory remarks on topical subjects in the bar-parlour of a country inn—coalmining, the “tote” and so on—merge gradually into the theme of the play. It could have done without some incidental playing of billiards, which, whether serious or comic, proved a trifle embarrassing. Sir Charles Denbury, 12th Baronet (Lewis Casson), has staked his last penny on his mare, Flying Kite, and all the out-of-work miners have also invested their bit on her. Just before the race the mare is lamed by a. tramp with a grievance against the world (Brember Wills), and only the persuasions of a humanitarian photographer (J. H. Roberts) prevent the tramp from being summarily tarred and feathered.

Tile owner of the favourite is a “captain of Industry,” Sir John Mazer (Edmund Gwenn), who has bought Sir Charles’s estate and the mines on it. Incidentally he has closed down many of the pits and thrown the miners out of work. Tlie opening of the second act is wasted by some unworthy fooling when Sir John has his photograph taken; in fact, I might as well say at once this humour is the weak suit of “Exiled.” Mabel Russell, for instance, has a perfectly impossible role as a comic “refaned” secretary; I suggest that in future she should be required to say the word “quate” quite 20 fewer times. Sir John is naturally unpopular, and gossip runs around that he has procured the laming of the mare, while the tramp sees his chance for exercising a little quiet blackmail on the matter. So he decides to go and face the miners. He explains to them why he has closed down the pits; Sir John puts his point of view welb and so do the miners, but somehow the drama is allowed to lapse, while the tale of the lamed horse is for the moment forgotten. The Wrong Horse And when we return to it, we hear from the tramp that it was the wrong horse he injured, which comes as an anti-climax, for we feel the tramp would have spoken in the first place. The final scene, too, is a trifle inconclusive. “Exiled” is not in the same class as “Loyalties,” though it is marked by the same conspicuous fairness in holding the balance between the opposing parties. It has brilliant and dramatic moments, but is marred by passages which are dull and comic relief which is tedious. Excellent performances were given bby Mr. Gwenn. Mr. Willis, Mr. Casson and Mr. Roberts, while a hit was made in the small part of a miner by Edward Irwin. The women had little chance, but Jean Shepherd gave a pleasant, cheerful performance. An interesting, enjoyable evening, even if it were not entirely up to one's naturally high expectations.

"The Desert Song,” one of The Firm’s most successful and spectacular musical productions, will open its New Zealand tour at Wellington on September 10. Auckland will be played from November 16 to December 5. ■e * * Allan Wilkie was very pleased with his Auckland season, and has left for the South a happy man. His three productions w r ere well patronised, though “The School for Scandal” proved the most popular and drew crowded houses. The season proved beyond doubt that the love for the spoken word is not nearly dead in Auckland, despite the panic about the talkies. The National Theatre at Oslo, which has always followed the English drama with great interest, has during the last season achieved success with Sheridan’s “School for Scandal.” This success has been followed by the performance of Ben Jonson’s “Volpone,” which now alternates on the play-bill with “The School for Scandal,” so that the British drama may be said to dominate the Norwegian National Theatre. Madame Pavlova, interviewed at Perth before her departure for England with her company, said that the Bolsheviks had achieved only poverty, tragedy and misery in Russia. She said that she would rest in France for several months, her Australian season having been very strenuous. She would take up dancing again in France or England when refreshed, and did not intend to retire for many years. She did not know whether she would visit Australia again, but hoped to dO so. because the people had been so kind to her. She had not been to her native country since 1914, she said, and would probably never return while the Soviet controlled the destinies of her people.