MODERN DRAMA

Hokitika Guardian, 23 April 1932, Page 6

MODERN DRAMA

LITTLE THEATRE AfOA’KAI EXT

TRENDS IN BRITAIN

‘•1 think" that drama in the British Empire generally is going to develop on ‘little theatre’ lines—-that is to say, amateur groups helped and trained by professional producers and experts. . • And people in England are frightiully interested to 'hear what New Zealand has been and is doing in the amnteiu dramatic line. . . They are genuinely interested and wish tor 'the very closest co-operation possible in the way of exchange of ideas and tin; li-c. This is the considered opinion of .Miss* Elizabeth Blake (Mrs .Stanley X"tusch), of Wellington, who returned by the Rang Bat a on Saturday morning, .after twelve months spent abroad, mainly in England. During 'her stay in England, M Blake travelled round a good deal, mainly in connection with her Tut.’ Theatre work. She attended . specialised courses of production training, and did a considerable amount of adjudicating work. *he attended the annual conference ol the British Drama League at Hull, which was la.fctended ‘by delegates from all over the United Kingdom. At that conference, a .great variety ol topics was discussed, and particularly the Little Theatre movement was considered.

DIFFICULTIES in new ZEALAND Miss Blake said that she told the conference of the difficulties existing in New Zealand, particularly the difficulties caused by its comparative isolation, and that we should welcome any assistance in the way of expert help in developing the Little Theatre movement. She suggested that a Dominions Drama Committee be formed, which would act more or less as a clearing house between the Dominions and the Old Country for the exchange of ideas and of export help. The idea was taken up enthusiastically by the conference, Alisa Blake said, and the committee was unanimously formed. Lord Lytton was elected chairman of the committee, which had also on it such distinguished men as Viscount Burnham. Sir Barry Jackson, and Louis Cassmi (husband of Sybil Thorndike). After three years’ absence from England, Aliss Blake said that slio found many changes had taken place when slm returned, a year ago The development in dramatic production was tiremendoufS': changes, in technique, changes in the use of equipment, lighting and stage work generally. At Norwich, she decided that she would go to the big producers’ school, held in the old Nad dor Alarkct Ilienko, an Elizabethan playhouse. Peter Ta-ylor-Smith; enu-wffi. the. uOld Vic,'.’ producers, was there.

LITTLE THEATRE DEVELOPMENT

Particularly in the Little Theatre movement did Aliss Blake notice great development. Almost every provincial town of any size had now got its Little Theatre. There were various forms. One common form was for a small repertory company of from six to 12 professionals under a professional producer to work in conjunction with amateurs drawn from the local dramatic societies. At Hull, Aliss I'] ike saw a splendid production, and it wnw quiet impossible at this to distinguish between pro fops ion al and amateur players. Ihe amateur in England took his or her work very seriously.

Miss Blake had a little to say about the great dramb tei-stivals; (she was for some time an adjudicator at one. The British Drama. League, which had about M)0!) societies affiliated with. It, divided the country up into a. number of separate areas, each of which held its sectional festival, ais it were. The winners of these lestivals then went, up to London, where they all perform'd at a. big West End festival. 'll, was at one of the divisional fejs.iivals that Miss Blake adjudicated. She found flic work interesting, and’, moreover, noticed that all the players look their work very seriously and were perfectly willing to receive const,ruclive criticism. These 'festivals were .Mr id ly lest i via Is rather tham competitions, for no prizes ad all were given. The players simply did their work for the love of it. It was interesting to note, moreover, (hat the I e-diva Is were entirely sell-supporting. The takings paid all the expenses of producing and management.