“RUNAWAY GIRL”

Wanganui Chronicle, 4 May 1949, Page 6

“RUNAWAY GIRL”

Well Produced, Gay Musical Comedy 1 Winifred Gray Shirley Smith Tamarind . .. John D. Tizard , Leonello Athol Peach* \ ' Pietr«> . .. .... .... Noiman Davids:.n Santa ( iuz Cecil Cornish Dolorost* . .... . Kelvin Patterson C.irinenita . . .. . Martha Sedgwick Dorothy Stanley Ngaire Holland Alice Fayette Rountree Mr. Ch el Lionel Gillman Mrs. Creel Oliv* Blacks Guy Stanley Fred Phillips Mi. William Hake John H Goss Signoi Paloni Jim Reid Flipper . Jimmie Muck Lady Coodle ... Beverley Jacobsen Lord Coodle Jim Broad English ladies: Marjorie Craig and Audrcj Gendarmes: Garry Craig and Clilf Marchant. Waiter John Symes A gay woodland scene, a hotel interior and the Grand Canal in Venice provide the settings for the musical comedy, “A Runaway Girl,” which opened a six-night season at the Opera House last night, presented by a talented cast chosen by the Wanganui Musical and Dramatic Society, and produced by Alexia Rankin, with Mr. E. O. Schnack as honorary musical director. The play is of a lilting, light, variety, with catchy rather than vigorous music. It centres round the life of “Winifred Gray,” who runs away from a convent and joins a band of wandering gypsies to escape marriage with a man she has never seen. This part is well taken by Shirley Smith, who has both the ability to act and to sing the required vocal numbers. Some of her appealing numbers last night were “Sly Cigarette” and “The Boy Guessed Right, ’’Beautiful Venice.” Shirley Smith is a distinct acquisition to the society, her naturalness, charm, and stage presence being of a high order,

In the role of “Guy Stanley,” Fred Phillips shows that he has greatly benefited from the experience he has gained in recent productions of the society. He acted with greater freedom and more naturalness and his was a pleasing voice in the vocal number, “Not the Sort of Girl,” and, with Shirley Smith, “No One in the World Like You,” and in the finale to act 1, “To Venice.” A CONTRAST. This production of ‘ ‘A Runaway Girl" serves something of a contrast between the acting, mannerisms and ability of personnel cast in the show back in 1914, and those of today. Martha Sedgwick, who was cast .as a “Convent Girl ” in the production of 1914, makes a comeback in this production in the part of “Carmenita.” It has been something of a revelation to members of the cast drawn from the school of today to study her interpretation of the part and appreciate the resonance with which her lines were spoken. Every word could bej nearly heard in any part of the building. The same could be said for Jim Broad, cast in the part of “Lord Creel,” the eye-glass “haw-haw” type of Englishman. He revelled in his lines. When a play depends so much on clarity of speech, both in the spoken 'line and in the words of song, the older players seem better able to play their parts than the younger. Maybe “A Runaway Girl,” teaching that lesson more than some other plays of recent resurrection, will have done good for the keen young people of today. who are so willing to learn and express themselves correctly and clearly in the characters in which they have been cast.

Fayette Rountree, who is playing in her biggest part so far, as “Alice,” “Lady Coodle’s” maid, interpreted her part very realistically and has profited by earlier productions. The same can be said for Beverley Jacobsen, who is cast as “Lady Coodi?,” Both these players have appreciated the necessity of not being afraid of words, and have striven to keep lhe audience in touch, as it were, by speaking their lines clearly and with correct inflexion. REVELS IN HIS PART. John D. Tizyd revels in the part of “Tamarind,” the gardener of the Convent of St. Pierre. His ability to act and interpret the character is beyond criticism and the fact that he has a glorious voice for song enhances his value as a member of the cast of such a production. “Taramind’s” musical number “Comrades All, Come Seo the Sights.” was very popular last night. The audience screamed their delight at “Tam’s’ little ballet frock. Jimmie Mack has the comic role of “Flipper,” the jockey boy, who becomes transformed overnight into the role of a courier showing people the sights of Corsica. He acted naturally and with that sense of humour which is characteristic of him in daily life. He again reveals that confidence on the stage so necessary in such a part. He makes up for in spoken line, stance and general antics what he lacks as a vocalist. Lionel Gillman and Olive Bracks played realistically the respective parts of “Mr. and Mrs. Creel.” and Ngaire Holland made a charming “Dorothy Stanley.” Her vocal number, “Soldiers in the Park.” was spectacular, though her singing, while sweet and appealing, was difficult to hear over the accompaniment. Her charm made up for that! A GOOD PRODUCER. Chorus work in this show was good. Ensembles geneially had that lively movement about them so necessary in a modern presentation and were spectacular. Alexia Rankin has devoted a great deal of time and patience to the moulding of the show, and it is of distinct credit to Wanganui that a producer of her calibre is available. She has played many parts lor the society, has a temperament becoming a good producer an ability to get lhe best out of the players by quiet and reasoned instruction, rather than dramatic temneramental behaviour which resolves itself so often into tearing of hair and stamping of feet. Wanganui also owes a great deal to the musical ability of Mr. Schnack, the honorary musical director. He lives the musical score, and his moods reflect themselves in the chorus. lie has striven and succeeded in inducing this young team of modern players to “let themselves go” when the score demands volume and vigorous expression. He has endeavoured also Io so modulate th** orchestra that the best results can be obtained from lhe soloists. Quite the best ballets the society has had since its revival after the war, was the verdict on the work of the ballet master. Mr. George Allen, and the members of the corps de ballet.