‘Slavish’ Viewing On Way Out

Press, Volume CVI, Issue 31092, 22 June 1966, Page 19

‘Slavish’ Viewing On Way Out

New Zealand’s social habits had undergone a revolution with the advent of television, but a trend away from the present slavish type of viewing was inevitable, said the actor, Roy Patrick, in an interview in Christchurch.

It was up to New Zealand theatre to be ready for a renewed interest by the public in major productions.

Mr Patrick went overseas in 1956 after three years with the New Zealand Players. He has worked extensively since then in theatre, television and films in England, Europe and the United States, and he is touring with the New Zealand Theatre Centre’s production of “Oh What a Lovely War.” When a tour of West Africa with the Nottingham Playhouse was cancelled because of the revolution in Nigeria, Mr Patrick travelled with the company to the Far East He saw an opportunity of spending a few weeks at home, and when he was offered a part

in “Oh What a Lovely War,” he decided to extend his stay until the play finished its season.

“New Zealanders have lost the theatre-going habit,” Mr Patrick said. ,“There was a tremendous public interest at the time the New Zealand Players were staging about four major productions a year, but this has been lost with the coming of television.

“It is inevitable that after the initial enthusiasm has worn off, people will more and more use television and not be used by it. They will become more selective in their viewing habits, and if the theatre has enough to offer, they will return with as much interest as before.” Mr Patrick said the real hope for New Zealand theatre lay in the establishment of the proposed regional theatres. “The Theatre Centre’s idea of two or so major tours a year to stimulate interest is a good one,” he said. “But the cost of such tours is astronomical. In England and Europe some of the smaller towns with populations of only 5000 support repertory groups, and there is no reason for a similar project to fail here. “The essential thing is that theatres must be comfortable places. They should have a restaurant attached where patrons can get a good meal, and also a coffee bar for a light snack. The building should be fully used, and even mid-day shows and poetry readings should be considered.” Mr Patrick has little patience with New Zealand’s liquor laws. “If they ever decide to change to a civilised approach to drinking here,” he said, “the first places which should be given a licence are the theatres. This is the type of essential comfort and service which theatre-goers take for granted overseas. It is this kind of incidental service which helps theatres to achieve financial independence. “AU theatres need some form of subsidy, but there is a danger in too much. I Uke the Jugoslavian idea. The only shows which receive a subsidy there are those which are a success.”