“SUSAN AND GOD”

Dominion, Volume 37, Issue 230, 26 June 1944, Page 3

“SUSAN AND GOD”

Clever American Comedy “Susan and God,” a. comedy in three acts, by Rachel Crothcrs. Cast of characters:— Irene Burroughs Mollie Michael O’Hara ; Tol ’S \ Charlotte Morlok Betti na W ejeb Hutchins Stubbs Frank I >r a rn '£ Leonora Stubbs , Ruth MontgomeUClyde Rochester Mien Christie Susan Troxel Neva (.’ar r-Glyn Barrio Trcxnl Lloyd Lamble Blossom Troxel June Mendoza Leon tine -.Moore

The - current season of modern American comedy in Wellington was advancedl a stage*’on Saturday night when the M llliamson company presented “Susan and God,” a three-act comedy by the bb-ycar-old Rachel (’rothers, a playwright, who has been industrious over a period of W years, and who made the headlines in tins rather daring but extremely interesting misuse of n-ligion as a comedy motif. It is just as obvibus in the play, as it was in the picture based on the play, that “Susan and God” is a flippant tilt at a religious movement of American origin which gained considerable attention in some quarters. That it is a tilt there can bo no question, as Ibe star convert to the new faith turns out to be an arrant humbug with tlie smallest regard for the ordinary decencies of life. This, of course, *s Siisan Troxel, who, though she has a sot for a husband in Barrie Trexel, and a sizeable daughter in a boarding school, dashes in on the summer party in the Burroughs home to expound her new-found beliefs to a sophisticated group of youngish people, most of whom seem to be playing off-side with life and each other under the “smart life” illusion. Susan has been one of them. She has left Barrio, and banished her own Blossom in order to butterfly round till her exaggerated sense of the emotional encounters the “movement.” This, she alleges, has changed her whole life. She chatters glibly about her soaring soul, and how tlje sin Jn everyone should be openly confessed. It all leads to a patehed-up happy ending, which Is not the least convincing. What is attractive about this clever comedy is the brittle brillance of Hie dialogue, its unpredictable turns and twists, and the chances it presents for character sketching, even though the limelight mostly falls on Susan and Barrie.

As protagonists the company is fortunate in the possesion of Miss Neva CarrGlyn and Mr. IJoyd Lamble. Mies Glyn, small and lissome of figure, has vicacity and charm. She is able to speak the rapidfire dialogue with clear-cut ineisivencss and precise inflection that proclaim the artiste, and gets her laughs with effortless ease. Mr. Lamble’s Barrie is also a notable performance. It is hard to recall any stage performance in which a character is so thoroughly drunk as is Barrie in the first act—it not only clogs his speech but oozes from his whole being, and yet, behind it all, there is that truce of breeding so evident in sobriety. A particularly bright bit of acting wan the Blossom of June Mendoza.’ who was as natural as the playwright drew her. The rest of the characters form the background or setting for the Trexel affair. Miss Molly Brown (of Wellington),»as Irene Burroughs, spoke her lines well, but was Inclined to be too sober in appearance and manner for the cocktail-and-scandal atmosphere of the gay summer party she has assembled. Iler acting will ease with familiarity. Air. John Tate as Michael O’Hara. Mr. Alan Rankin as Leeds. Mr. Allen Christie as Clyde Rochester, Mr. Frank Bradley as Hutchins Stubbs, Miss Bettina 'Welch as Charlotte •Morley, and Miss Ruth Montgomerie «« Leonora Stubbs, filled in the party. The comedy is delightfully staged, with artistic settings by Mr. George Upward. The attractive “Magic ,‘Melody,” sung at the opening of the second act, was composed by Mr. Harold Bowden, manager for J. C. Williamson, Ltd., at present in Wellington. “Susan and God” will Ije playcd’througbout the week.