REPERTORY THEATRE

Wanganui Chronicle, 19 August 1950, Page 6

REPERTORY THEATRE

“Gioconda Smile” Intrigues Audience

(By H.C.J.) When a biologist takes to the drama what is his purpose? That question is not easily answered even alter witnessing a good presentation of Aldous Huxley’s "The Gioconda Smile” at the Repertory Theatre last evening. It may be said to be a psychological play and certainly the play has its psychological interest, but the problem which the audience is called upon to decide is whether the interest of the author was dominantly upon the character of Janet Spence, the woman in love with Henry Hutton, who for the greater part of the play provides an enigma after the manner ot the Mona Lisa, or whether the conversion of Hutton from a cultured but blind egocentric to a man alive to. the full meaning of the word destiny. It is difficult to determine which is the dominant intention, but the fulfilment of the play is in the development of the character of Hutton rather than in the deterioration of Janet. It is safe to conclude that Hutton is Huxley’s major concern. The handling of the two cases byDr. Libbard, to open the eyes of the man and to close those of the woman, provides the required unity, but the two themes are concurrent and complementary, the opening and the closing of the heart and mind, and what causes those results are the purpose of the play. The rest of the characters are ancillary to the purpose of the play. They are essential bricks in the structure, but they are supports, their development is not the business of the author.

Having decided what is the business .of the Play, the next requirement is to discover what kind of characters the main personalities are when the play opens. Henry Hutton is a selfish man without regard for the feelings of others. He defends himself and assuages his mind’s restlessness by an indulgence in cynicism. The death of his invalid wife provides him with his longed-for release only to cause him to realise that she meant more to him than h e had previously realised. Then Fate takes control and he becomes a cork upon the water, tossed hither and yon without control of his own movements. Janet, however, incapable of seeing far into the soul or even the character of Hutton, believes that she has him through his illicit affair with Doris Mead, the shallow-brained youngster of 18 years. She then suffers an intense reaction, her love turning against its object with the ruthlessness of the deranged. For her the Fates conspire all the assistance she needs and Hutton never knows what her smile may mean. Had he been able to read the enigma that Leonardo put on canvas the tragedy would never have had a chance to develop. The chief study of man may be man, but it seems to be beyond the capacity of the male to fully understand the deadlier of the species; a knowledge which would serve many men very well indeed. Such a play is a very ambitious adventure for any amateur cast, and Alexia Rankin was tremendously courageous in embarking upon this production. It may be that the play in the first half is beyond amateur acting. It would require very experienced and highly gifted actors to bring out all the subtleties. As the plot takes shape, however, the playing becomes more direct and gathering momentum moves with remarkably fine balance to its appointed end. I would prefer -o see the character of Hutton played a little more lightly in the first act and his treatment of Doris given more callousness, but I can see that such an aim would be very difficult of execution. The reciting of the Shelley lines was ot a high order, as was also the Anal scene with the warder in the prison ceil. The scene with the young wife which followed was quite convincing although a little more restraint byDoris under such circumstances might be an improvement. The controlled rendering which is called for in these scenes makes a strong appeal and stands over against the uncontrolled scenes that are concurrently being staged by Janet and being closely observed by Dr. Libbard. William Clayton’s interpretation of the role of Hutton is intelligent and convincing, and his enunciation is consistently good. Nancy Cameron’s Janet Spence revealed the deterioration of the mind of the character, and as it went to lower levels so did the dangers of over-acting become the stronger. This danger was avoided by reason of the full appreciation of the part that was possessed by this actress. The gradualness was preserved right to the last scene when complete derangement had to be portrayed. Tremendous dramatic resource was required, and I can recall no occasion in recent years which equals the interpretation of this role. It could be bracketed with Grace Williams’ interpretation of Mary Lamb. Irene Raynor as Nurse Braddock was a complete fit. It is difficult to say more of this part, but that is a ' high compliment. 1 Anne Edwards had the most diffi- ( cult role in the play. The opening i scenes provide little opportunity for subtlety of treatment, the role is not an attractive one for the audience, ' bu at no time does this actress deny the part anything that is needed to support it. More the victim of Fate ' than at first appears, hers is a pas- ' sive role throughout. She responds speedily to every whim of Hutton and I as the child wife provides a pathetic • scene in the condemned cell. The I real problem in this character is to 1 keep it in proper relationship nnd 1 this was attained. When Janet is flaunting the bracelet before Doris’ nose the author has given, the latter no riposte. Negative roles are seldom satisfactory to play from the actor's standpoint, but unless they are kept on the passive side of the line they get out of harmony with the rest.

Peter Willcox as Dr. Libbard had the finest role that has yet been en-

trusted to him in Wanganui. He was true to type all through the play. He acted with the required restraint and with a thorough realisation of what was required of him. He “delivered the goods” to such an extent that the audience was in sympathy with him to th e end, never once regarding him as anything more than a medico and never as a sleuth.

George Robertson as the chairridden General Spence, gave to his part just sufficient of the paralysis affection to carry conviction without it resulting in being a distraction. His abruptness provided the humour and while this relief was relished it need not have been so volubly appreciated by the audience. Ewen Cameron as the warder was sufficiently sympathetic and yet with the required obtruseness to provide the foil for what the condemned man was saying to him. The facial expressions of the warder were indeed eloquent. Betty Hains as the maid Clara had little business, but her lines were well spoken in an unobtrusive way which fitted the part. She kept her place, but managed her hand-maidenly philosophy well and put just that required note of urgency into her voice when telling Hutton that his wife was asking for him. The staging of this play called for considerable ingenuity, but the problems were overcome while the lightning was skillfully manipulated. The season closes with tonight’s performance and it will be remembered as being one of the major efforts on the amateur stage in Wanganui.