“LOVERS’ LEAP”

Manawatu Standard, Volume LX, Issue 139, 13 May 1940, Page 3

“LOVERS’ LEAP”

MODERN COMEDY. REPERTORY PRODUCTION. The Manawatu Repertory Society have chosen a comedy modern iat all points as their first major production of the season. “Lovers’ Leap,” which had its initial presentation at the Empire Hall on Saturday night; is quite unlike any other plays the society has staged .in recent years. Requiring the smallest cast —five, of whom only four are really major players—it exacts heavy demands on the participants to avoid the monotony that might easily arise. However, with a proper appreciation of the play, Mr F.; Cousins turned liis wide experience as a producer to good effect, and selected proven players for the chief roles. Without exception they measured up to expectations and made a capital job. The plot revolves arouncl two sis-ter-sand their affairs of the heart. One, married but deserted by her husband seven years previously after they had been only eight months together, strives to solve the problem or her younger sister, frankly in love blit, deterred by the elder’s experience, hesitant about taking the leap. "When Urn estranged husband returns from Egypt to seek a divorce his wife agrees to comply only on condition that ho plays the part of a truly affectionate husband reunited once more, thus to prove to her doubting sister the strength of their own ties and love in general. Eventually lie finds it to bo more than pretence, and the younger woman is convinced. Hut the best-laid plans “gang agley” and in the final act things take a most surprising (almost fantastic) turn, leaving all as they were —and the divorce not secured. There is scope for dramatic action of a high order—indeed the whole production derives its attraction from the inter-play of emotions —and the cast succeeded to an admirable degree. The role of Helen Storer (the deserted wife of the man to whom Egyptology was more satisfying than marriage) was entrusted to Mias Mavis Mortland. It could hardly have been in more capable hands. A striking personality, coupled with stage and producing experience, made her an . excellent choice, and she came through an exceptionally heavy test with flying colours. At one period thoroughly selfpossessed, at another thoroughly distraught; now the essence of sweet reasonableness, then a thoroughly active participant in marital quarrels—there were few emotions she did not require to plumb, but it was a consistently' sincere and altogether convincing performance.

Miss Babette Rodgers handled well the part of Sarah Traille, the younger sister, modern in the extreme, but avowedly afraid of the consequences of marriage before she was quite sure of herself. Sarah learnt her lesson—that it does not pay to be too vacillating. Miss Rodgers brought a breadth of experience to hear on her work. As the dashihg young woman who wanted to avoid all the pitfalls which had befallen the family in the past, proving in the process that a “lovers’ leap” is preferable to safely first if the man is to be held, she imparted zest and sparkle to the part, and in the final Stages proved as adept at portraying an emotional role. • The steady progress in Repertory productions which Mr Graham Driver has enjoyed was taken a further step in his assignment to the part of Roger Storer, with whom Egyptology won in the battle for first place in his affections. Domineering, querulous, lonely, not very kind, the character was not an altogether attractive one, though it was immensely fascinating after a. fashion, and Mr Driver brought a new maturity to bear which was very satisfying. Last year he played the innkeeper in “Bird irj Hand” for the society, making a very good impression, and in the present plav lie establishes himself even more firmly. Dr. Alvin de Berry, who also had a part in “Bird in Hand,” lias his most responsible role to date as Cedric Norreys. the suitor of Sarah Traille. It is not an easy part to play —by no means as simple as it might appear to the audience —and Dr. de Berry won fresh laurels with his performance. As the diffident and bewildered young man thoroughly in love—so much so that he seeks enlightenment on “special license” in the encyclopaedia—he keeps the house in excellent humour, and in the final stages, when fortunes take an unusual turn, wins sympathy for courage in taking his own way. There is a nice sense of proportion in all his work. Mr Ewen Davidson has his first role, that of Poynter. the very dignified butler. Always the essence of attentiveness, lie invests a minor part with value, serving liis apprenticeship lor heavier work later on.

Material assistance to the attractiveness of the play is lent by the excellent staging, the appointments being in the best possible taste, setting the requisite atmosphere of modernity;. In similar manner the brooking is beyond cavil. In every department, and not the least back-stage, credit is due to those responsible for the smooth running of a production which warrants a larger . audience than attended on Saturday night. It continues to-night and on Tuesday night.