“LOVE IN IDLENESS” LONDON WARTIME COMEDY 6000 PLAY WELL ACTED.

Wanganui Chronicle, 3 December 1946, Page 6

“LOVE IN IDLENESS” LONDON WARTIME COMEDY 6000 PLAY WELL ACTED.

(Reviewed by H.C.J.) * Mivia Brown .Kathleen Robinson tolton Minnie Love 1 Kiss Dell Dapnne Winslow ; Hr John Fletcher Richard Parry Kichael Brownßon Rousel ' Diana Fletcher—Jessica Noad Author: Terence Rattigan. Producer: Richard Parry. “Love In Idleness" contains much ove, more comedy, but no idleness whatsoever. Olivia Brown was already well occupied when her son returned from Canada, but he added complications of an unexpected kind. Sir John Fletcher was in charge of the Tank Department and a much harassed man, Michael got busy on his own account and brought the departed Wife of Sir John back into the family Circle and all this was enough to make t heartbroken lover laugh, a seriousninded woman to forget her resolution and helped a youngster to grow an The members of ■ the audience from the other side of the footlights were the spectators of this lively interrelation ana thoroughly enjoyed every minute of it. With only six players (one doubled affectively) each had to be at least adequate to the task assigned. In this production the actors were much more than that and it is of interest to attempt to discover why they were ao. It is the kind of play that could be attempted by a Repertory Society and, provided the p-ajers were gooo enough, they could put the play ■cross. To examine the work of professionals when opportunity occurs is of interest both to amateur players •nd to those who find pleasure in ■watching the latter's efforts. The first fact to be noted with the east last night was the excellence of their diction. Every word travelled Into the auditorium and registered easiH on the hearing. This simpie feet is all important, lor a play that is difficult to hear cannot be enjoyed. It requires too much effort to iollow the words. Enunciation is an actors’ business and these actors have learned this part of their work to a . degree that makes their performance a delight. The movement on the stage and the gestures are all controlled and •ver helpful, the picture presented at any one moment is therefore always balanced and if photographed would be apnropriate. The test of an actor s interpretation to to oe found in his conveying a sense of development in the character as the play proceeds. In this respect the presentation of Olivia by Kathleen Robinson was very pleasing. From a pleasure-loving woman full of shallow inconsequential things she moves to a »elf-sacrificing mother without bringing tears yet quite convincingly. The audience comes to accept the change without question, which was anotner way of saying that her acting is very convincing. Ron Rousel as young Michael, Olivia’s son, carries a very difficult role and he provides the amusement—•t his own expense. Young and enthusiastic in his Leftist opinions he is prepared to dictate to the world in the name of liberty. His executive ability is such that he undertakes to manage the romantic affairs of his mother, but unfortunately for him, but luckily for the play, his efforts go awry. But the ways of the world, including the black market are too much for his idealogy and he goes the way of all flesh witn the zest usual to gaily youth. " Richard Parry’s part as Sir John is rich in opportunity, but only a master of facial expression could extract the full measure of fun out of the portrait. He is kindly, generous, romantic, ted-up, playful, soulful, resigned, persistent sincere a humbug, and several other things all in the space .of two and a-haif hours and it ail registers in Richard Party’s face. His expressions are almost as important as the tone of his voice. Olivia holds the play together from the start, but Sir John takes it over during the second act and carries it to the nnal curtain. Daphne Winslow as Miss Deli, the secretary, in the small pari allotted to her gives an earnest of what she is capable and has interested the public in her histrionic possibilities. Minr.e Cove as Polton played a subdued role so not to intrude into the play, preferring to leave the stage to the main actors.

Jessica Roads Diana Fletcher provided just a sufficient hint of the schemer while parading a charm that would acount for her ability to win her way to Sir John's bank account. The duel between Olivia and Diana must surely rejoice the feminine of heart; revealing as it does the character of “the more deadly” of the ■pecies. The Whitehall Players deserve the excellent reception they received last night at the Opera House and they should play to-night to an equally appreciative audience. It is a good play well acted and can be thoroughly recommended as first class entertainment.