ONE-ACT PLAYS ENTERTAINING

Press, Volume CVI, Issue 31092, 22 June 1966, Page 14

ONE-ACT PLAYS ENTERTAINING

Like the three bears’ porridge, the last of the three one-act plays presented by the Riccarton Players and the Little Theatre last evening in the Riccarton Town Hall was the best of a mixed offering. The first play “Reprieve for an Angel,” by the local playwright Iris Thomas was set in a reform school for teenagers. The local minister’s efforts at organising a play reading for Christmas by the delinquent residents of the school produce an unexpected poignant ending to what had promised to be pure comedy. The play was a special guest production by the Little Theatre.

Sue Garter's performance as Liz Wright, the delinquent from the slums who finally finds peace at Christmas, was convincing and moving. Miss Garter handled the sudden change of mood superbly, and her fine acting carried the play. The supporting cast was disappointing. At times their movement was stilted and awkward. Miss Garter’s use of a coarse New Zealand accent was far more appropriate than the variety of dialects offered by the others in the Play. Nora Ratcliffe's “The Saint” provided a touch of unusually subtle theatre that

would have done Hitchcock credit. A blind woman’s companion is the prey of a vicious woman blackmailer. Forced tn confess to her employer, she learns of an unusual twist of fate.

Joan Lowe, as the blind and crippled Miss Francis, played a difficult part competently. She appropriately felt her way with halting speech, and her calm acceptance was well suited to the part. Hesitancy at the vital moment at the end of the play rather palled what would have been a good performance. In Anthony Booth’s “Ride a Tiger” all the ingredients of good drama—action, humour, pathos, and some good wordly philosophy—were provided. Excellent casting made this a well-balanced production which was by far the best of the evening. The play depicts the difficulties of a mother whose sons are opposites in every possible way. When the sons and their respective girl friends clash in a turbulent domestic dispute not even the down-to-earth local priest can offer much help.

Marie Henderson and Martin Higby were a delightfully paired young couple. Christine Scott, as the young hussy, gave a boisterous and spirited performance, and Doug Clark gave able support as the nervous bully. Dora Gatehouse was admirably cast as the mother in a dilemna, and Dick Trembath, though hesitant at times, gave a good account of himself as the priest The strength of the play lay in the subtle balances, achieved in this production. The contrast between the two couples was well brought out without the emphasis lying too heavily on one or the other. The three plays will continue nightly until Saturday.