lAN HAY COMEDY

Dominion, Volume 32, Issue 157, 29 March 1939, Page 6

lAN HAY COMEDY

“Housemaster” Presented By Repertory Society WELLINGTON PRODUCTION “Housemaster," a comedy in three acts by lan Hay. Cast:— . Charles Donkin Vivian l\bnid "Bimbo" Faringdon ... F. Murray l.odd Victor Beamish F ir » eisi ’ Frank Hastings Eric Lawsou vii en Ngaire Thomson Barbara Fane .... Mrs \\. A. Marlin "Button'’ Faringdon . Elspeth MeArthui Matron F 1 ? en Rosemary Faringdon .. Heather lloiiax Chris Faringdon ? 1 ?, rjo , r ,‘ e llu ,' Philip de Pourville .. A. H. Maeamlrew “Flossie” Nightingale ..... John Roberts The Rev. Edmund Ovington Algernon Deuber Sir Berkley Nightingale Dr. P. B. Benham Travers JJ’ A'-' u ' v -Pop- C. IL Chime "Old Crump” D. L. Tucker "Housemaster,” the pleasant ami amusing comedy of school liie by lan Haj (Major John Hay Beith) had a marked success when produced in London tour years ago. There is every reason to believe that this success will be reflected in a minor degree in the season inaugurated at the concert chamber, Wellington last evening, for the performance was well up to the average of the Wellington Repertory Theatre and as the players work into their roles smoothness will take the place of the little roughnesses inevitable in a first performance. What perhaps is more important than anything in presenting a comedy in which sentiment runs cheek by jowl with outrageous comedy is that the producer, Mr. Leo du Chateau, has managed to preserve the proper spirit of the comedy, as was so aboundingly evident in the charming last What one must emphasize, however, is that the first' quarter of an hour in any play is most important with aitiatcurs or professionals. In that period of the play the attention of the audience must be firmly engaged; otherwise there is so much more leeway to make up afterward. This is mentioned because so frequently the first 10 or 20 minutes of a play by amateurs is invariably halting and unsatisfactory, where it need not be. That was the case last evening. It seemed to take some little time before the players slipped into the skin of the characters they were playing. Later the action was smoother, and the play of character increasingly satisfactory. The last act was the best played by all concerned. “Housemaster” involves quite a little story. It is that of the tolerant, easygoing housemaster, who, though competent in his job, suffers fools gladly, and, good easy man, takes on the burden of others; and while he earns the love and respect of the many, is practically dismissed for being just what he is. Charles Donkin is a confirmed bachelor, because he has loved once and lost. But the children of the one he loved are thrust upon him by their Aunt Barbara Fane, who also seeks sanctuary in the Donkin menage (all of which is rather weird, as it is a boys’ school at which Donkin is housemaster). The children, three girls in the adolescent stage, brought up in Paris, are enfants terrible, shockingly sophisticated, and feverishlj' active, so that one can imagine the mischief they get up to in the school. But more serious is the trouble into which they get the housemaster, when, in defiance of the ruling of a very pompous and eccentric housemaster, the school breaks bounds on fireworks night. That incident gives the Rev. Edmund Ovington (headmaster) an opportunity to vent his spleen on Donkin, which ends in his demanding the latter’s resignation. But Donkin has a friend at court in Sir Berkley Nightingale, at once a political and school influence, who gets to know through his son, “Flossie,” how the land wlies, so that in the end Ovington is offered a clerical office of some dignity, and Donkin is asked to take the headmastership. But this brief sketch hardly mentions the kindly sentiment that runs through the play—the memory of the dead Angela, and Donkin’s fondness for her image (Rosemary) ; nor does it. relate how Barbara Fane revives an old love affair, and Rosemary finds happiness with the stiff, shy musie master, Philip de Pourville.

The juvenile element in the east perhaps scored more marks than their elders. Two of these young women were delightful. Outstanding perhaps was the Chris Faringdon of Marjorie Hutton, who has charm, vivacity, and beauty plus, and who spoke her lines with sparkling vivacity and intelligence. Miss Heather Horrax, too, was also winning in a more subdued way, and played the last scene with Donkin with much sweetness and charm. Among the boys “Flossie” Nightingale was played with spirit by John Roberts, and “Bimbo” Faringdon and Old Crump were well played by F. Murray Todd and G. L. Tucker.

Coming to the adults, Mr. Vivian Rhind, rather muffled in speech, played Donkin with genuine feeling. Without an effort, without trying to act, he managed to get something of the sweetness of character and fair-mindedness which permeates this character. Mr. Rhind really won his audience by the sheer charm of his own personality. Another good performance was the Sir Berkley Nightingale of Mr. P. B. Benham. His filling presence and fine speaking voice added weight just where it was needed. Mrs. IV. A. Martin was competent as the rather shrewish Barbara Fane, and Mr. Erie Lawson figured rather colourlessly as Frank Hastings (also a housemaster). Mr. Algernon Deuber was strikingly good as the headmaster, having the almost ideal presence and personality for this unpleasant role. Elspeth McArthur was cute and amusing as little ‘‘Button’’ Faringdon ; Mr. C. A. Burgess was a spirited Victor Beamish; Mr. A. H. Macandrew played the music master on quiet lines, and Miss Eileen Toward made a plump and smiling matron. On the whole “Housemaster” is good entertainment. It will be played throughout the week.