“ARMS AND THE MAN”

Timaru Herald, Volume CXXXIX, Issue 20102, 8 May 1935, Page 13

“ARMS AND THE MAN”

PRESENTATION OF REPERTORY PLAYERS In the Theatre Royal last evening members of the Repertory Section of the South Canterbury Drama League presented G. Bernard Shaw’s comedy “Arms and the Man” to a very appreciative audience. The presentation of the play showed that the preparation work had been well carried out, and special scenery made and costumes secured in Australia. The National costumes of Bulgaria, the uniforms of the soldiers wei-e very picturesque and colourful, while the scenery and settings, especially the garden and library scenes, were extremely' bright and effective. “Arms and the Man” is said to be the most novel and effective attack on the idolisation of the modern military man ever penned. The action takes place first in Raina Petkoff’s bedroom, then in the garden of Petkoff’s house and the library later, the time being the late nineteenth century during a period of war between Bulgaria and Servig. It was not till after the staging of “Arms and the Man,” that Shaw was permanently established as a playwright, and even then some of his most innocent remarks got him into trouble. His suggestion that the Bulgarians of that date of action did not possess such luxuries as up-to-date bathrooms, libraries, electric bells, and native generals was looked upon as an insult to the Bulgarian nation, and likely to hamper them in their quarrel with the Turks, while the hint that it was the Austrian behind the scene who was really responsible for the strife between Serb and Bulgar was taken so badly by the Austrian Government that the play was censored in Vienna. The story of the comedy can be simply told. Raina Petkoff, the only child of a Bulgarian grandee, is full of the highest conceptions of valour and heroism, and her idol and adored cavalier is Sergius Saranoff, an officer of high rank in the Bulgarian army. On hearing that her Sergius has driven back the attacking Servians in a dashing cavalry charge in the teeth of the enemy’s fire. Raina is highly exultant. The Servians flee headlong from the battlefield and one of their officers seeks refuge with Raina. He is no Servian but a Swiss, with a talent for soldiering, who joined the Servian army rather than the Bulgarian simply because he came across it first. Raina is doubtful about sheltering her country’s enemy but her tender heartedness overcomes her patriotism and she hides the poor fellow from his foes. While she conceals him, her most cherished illusions are shattered for she learns that modern wars are not won by bravery but by munitions, and that Sergius’s dashing charge was merely a piece of romantic insanity that succeeded through the coincidence of an accident to the Servians’ shot and shell. From this contact with a real live man of to-day, Raina is awakened from her romantic imaginings and begins to doubt her love for Sergius. She discovers he has been carrying on a flirtation with her maid, Lauka, an ambitious, attractive girl, out of her proper station in life. So, her doubt is confirmed and when Bluntschli, the Swiss, returns after a long interval, Raina accepts his proposal of marriage, gives up her quixotic ideals, and leaves her damaged idol Sergius to Louka. The members of the cast all acquitted themselves most creditably, the characters for the most part speaking their lines clearly and confidently and “getting over" the comedy of the piece successfully, The chief part, that of Raina Petkoff was very well played, but marred a little by a tendency to overelocution. The role of Catherine Petkoff, the mother, was played in delightfully natural style, while that of Louka, the pert, ambitious maid, was also well portrayed. Bluntschli, “the chocolate cream soldier,” was played in a quiet, dignified manner in contrast to the swaggering self-satisfied Sergius Saranoff. Major Petkoff's part was full of humour which the player brought out well though there was a lack of pomposity that would have been expected of an old major. The smaller parts of Nicola and the Russian officer were also played convincingly. Orchestral selections in between the acts added considerably to the success of the production.