Little Theatre Movement Flourishes in Auckland

Sun (Auckland), Volume III, Issue 625, 30 March 1929, Page 15

Little Theatre Movement Flourishes in Auckland

PLAYS FOR THE COMING YEAR. This year Mr. Brampton hopes to produce plays by many of the better-known British playwrights. John Drinkwater’s “ Bird In Hand” will be the first production of this season, and the first of this author’s works to be seen on the stage in New Zealand. After that it is the present intention to produce the following plays—“ What Every Woman Knows” (Sir James Barrie), “Overture” (Sutton Vane), “Four People” or “ The Fanatics ” (Miles Malleson), “ Escape ” (John Galsworthy), and “ Anna Christie ” a (Eugene O’Neil). ® All these plays cannot be performed in one year, but it is good news for keen theatregoers that they are to see plays by O’Neil and Galsworthy, even if they have to wait until next year for them.

jj====r —i ~iif curtain rose on the Auckland ] was not greeted lU—^-rr j by a cheering • — s — = 1 throng. In a room at 9 Lower Symonds Street, a few enthusiasts met the late Herbert j. Bentley, discussed with him the prospects of establishing a Little Theatre movement here, and ended by appointing him the organiser and first producer. take all new movements the society had a humble beginning, built on the foundation of sincerity and enthusiasm. Like all such movements it has forged ahead until to-day the repertory movement in Auckland has close on 2,000 earnest followers. “Tell the good people you have met to cultivate the dignity of humility and to”aim high. The theatre can be served in other ways than by playing the leading parts.” That was the message Sir Barry Jackson, founder of the Birmingham Repertory Theatre, sent to Mr. Bentley soon after the Auckland movement was established, and surely no new enterprise began with a-more sensible, sincere message.

Until a few years ago the word | "repertory” seemed to frighten people, j They had associated it with literary j snobs and stage-struck fanatics. Lit- j erary snobbishness and fanaticism j had no place in the minds of the J original committee which met to decide on the formation of the repertory ! movement in Auckland. They were sensible of their aims, which can be best explained bv a passage published m the L • of the Manchester organisatioi To e ,h a. repertory theatre: with a change of programme not wee o any particular school °t dian but thoroughly cath°dc, emb ..ug the finest writings of fhe best authors of all ages, and with a specially wide open door to pres-ent-day British writers.” The original committee —Messrs. L. P. Leary, H. Goldie. W. J. Crowther, A - V. Hunt, A. E. Mulgan, Henry Hayward. F. L. Armitage and Dr. j r Macky—quickly dispelled any |

idea that the new organisation would be “highbrow.” Their desire, and that of the founder and first producer, was the production of plays which were ignored by the commercial stage for box-office reasons. That also was the desire of the first members, who

A splendid performance was given by Mr. J. D. Swan in Barrie's charming little one-act play, “The Old Lady Shows her Medals.” quickly rallied round the organisation. They wanted the plays of Shaw, Galsworthy, Robinson and other thinkers; they wanted something worth listening to in place of inanity so frequently encountered. In every society one comes upon groups of people happy aud eager to express themselves on the stage, not only for amusement but because of their innate interest in the drama. Auckland was particularly fortunate in this respect. While Mr. Bentley discussed with his wife, Who was also an enthusiastic admirer of the theatre, the prospects of the new movement, Mr. and Mrs. Robert Finlayson and Mr. and Mrs. Humphrey Clark were, in the interests of charity, embarking on the production of "Belinda, ’ Milne s amusing trifle. They had also expressed to Mr. Bentley the hope that a repertory movement would be formed. It seemed a happy coincidence that lie should have been their producer, for as soon as the society took took definite shape they were among the first to become its most ardent supporters aud have remained so, ever since, working assiduously in the good cause. Soon others flocked round the newly raised standard. The public showed its interest and the membership of the new society increased rapidly, Anv fear of the word ••repertory” soon disappeared, and had completely vanished by the time the society staged its first production. There was an immense amount of work to be done before that first production came to fruition, but the

producer, the committee, and the members, all fired with the spirit of the new enterprise, made light of any difficulty. The Amateur Operatic Society’s Hall in Grafton Road was the reper tory movement’s first home, and

here “Fanny’s First Play” was staged on August) 28, 1925, for a season of five nights. “Those plays produced in Grafton Road were the most intimate which have ever been given by the society,” one of its members told me recently, “Everybody cursed them and everyone laments they are not produced there now.” “Fanny’s First Play” was an unqualified success. The first night critics were in ecstacies—the public was delighted—the society was definitely established and New Zealand had joined the cause which has been so ardently espoused by Barry Jackson in England and Eve Le Galliene in America. By this time all the machinery of the society had been put in motion A president, Mr. L. P. Leary, had been elected. He has remained in that honoured position ever since. An advisory committee had been selected and consisted of Professor R. M. Algie, Professor J. C. Sperrln-Johnson, Professor C. W. Egerton, the Hon. Sir James Parr, Dr. P. H. Buck, Dr. Frank Macky, Dr. C. E. Maguire, Messrs. W. W. Bruce, W. J. Crowther, A. F. Goodwin, Harry Goldie, W. H. Graham, Henry Hayward, A. V. Hunt, L. P. Leary, J. W. Shaw, and A. E. Mulgan. Mr. A. S. Miller had been appointed Secretary, and Mr. Goldie treasurer. Three months later came the society’s second production, a triple bill consisting of “A Maker of Dreams,”

(Written for THE SUN by O. A. GILLESPIE) All photographs on this page by ■) m Tornquist. |wP “The Man of Destiny," and "E. and 0.E.” Once more the public was delighted with the plays. “Here,” they said, “is what we have been waiting for. Here are plays which mean something,”—and the society's membership increased. Soon after this production Mr. Bentley’s health broke down and the society suffered its first distinct loss. But the work of the repertory movement, so firmly begun, could not be allowed to falter. That would have been the last wish of its founder. Rehearsals were in progress for “The Dover Road,” and the services of Mr. J. M. Clark were obtained as producer. There were other changes too. Dr. Macky had become the secretary and on the society’s programme was listed a patron and an imposing list of vicepatrons. Public interest was growing, and the hall in Grafton Road had become too small to accommodate the audiences. It was decided to stage “The Dover Road” in the Concert Chamber of the Town Hall and here Milne’s character-

istic comedy was presented on July 27, 1926. Since then, although it is not the most suitable place, Little Theatre productions have been staged there. The time may come when the society has a legitimate home of its own. Until then, the noise of rumbling trams and the alternate echo of cornet, trombone or shrill soprano must occasionally intrude on the voices of the players. Further changes in the history of the society were to come. Mr. Clark, whose appointment as producer was only temporary, ended his term after a presentation of “Quinneys’,” Horace Vachell’s four-act comedy. The society was now more than a lusty child and it was felt by the president and the committee that a producer who could devote his whole energies to its welfare was needed if the movement were to continue its success. It was Mr. Bentley’s wish that should he ever leave the society its intrests should be served by either Mr. Kenneth Brampton or Mr. Gerald K. Souper, then both well-known actors under the J. C. Williamson management. Mr. Brampton had had considerable experience with Hugh Buckler’s Little Theatre in Sydney and it was finally decided to offer him the position. He was at that time touring New Zealand with Muriel Starr’s Company. Here in his own words are his reasons for becoming producer of the Auckland Little Theatre Society:

“Frankly, I accepted the position with a spirit of laziness. I was by this time, as you imagine, very tired of travelling and the prospect of spending one whole year in one city, and the certainty that I would not have to catch the 5.15 train to Oamaru, was altogether too attractive to a travelworn player. “It was only when I started to work in earnest on the organisation of the Little Theatre Society, and found what a splendid band of helpers I had, that I realised the prospects of our Little Theatre. My task as producer has proved to be a most happy and congenial one. I particularly look forward to this year’s work, strong in the

belief that we shall make even greater progress.”. So the Little Theatre took another lease of life. Mr. Brampton set himself to increase the public interest. The excellent legacy to which he was heir proved of inestimable value, and as he was able to devote the whole of his activities to the society’s welfare the membership was still further increased. For his first production, and the fifth since the movement began, he chose Shaw’s “You Never Can Tell.” It was presented at the Concert Chamber on April 21, 1927, for a season of three nights, and rightly justified its claim to success. Mr. Brampton embarked on his new undertaking with no spirit of overweening timidity. He realised that if the Little Theatre Society was to maintain its success and was to progress it must be placed on a definite business footing. No venture, however altruistic, can keep afloat by faith or enthusiasm. These admirable attributes are a great help, but even in the repertory movement some attention must be paid to “business.” Mr. Theo. J. Spry undertook the duties of honorary secretary and since 1927 has worked indefatigably in the interests of the society. 5 Since his appointment Mr. Bramp-f ton has produced four plays eachJ year and this programme will be continued. “The Cassilis Engagement” followed the Shaw play. Then came a triple bill—“ Rehearsal” (Christopher Morley), “Pan in Pimlico,” and "The Old Lady Chows Her Medals.” Personally I think that “Rehearsal” is the only indifferent performance the society has given. Shaw’s provocative “Pygmalion” followed and the 1928 season began with Lord Dunsany's “If.” Next came “Outward Bound,” by Sutton Vane, “The Round Table,” by Lennox Robinson, and for the final performance of the year another triple bill, “Maid of France,” “Danger,” and “The Boy Comes Home.” Such to date, is thp proud history of the Auckland Little Theatre Society. In its short existence—the world has not grown much older since May, 1925—the society has established a wonderful record. To have played Shaw, Dunsany, Robinson. Barrie, St. John Hankin, and the others is an achievement of which everybody concerned might well be proud. This achievement has only been possible through the ardour and support of many people. Working behind the scenes of the society are people of whom the public hears only occasionally. Each has given his whole-hearted support in making for the success of each production. On the artistically produced programmes are attractive little drawings, the work of Mr. A. H. Hooper, who toils far from the limelight. Mr. T. G. Gulliver is another member of the society who has been responsible for many of the

charming stage settings, of which simplicity is the keynote. How much can be achieved by simple methods was demonstrated in the settings of “ If.” Sister Hovey, Mr. Goodwin, and Mr. F. E. McCalium have given yeoman service behind stage in addition to acting in several of the productions. Individually the performances have been of a consistently high standard, but that is almost a foregone conclusion with so much talent available. One remembers long after the programmes have grown dusty the work of several of the players. Roberts Tole and Arnold Goodwin, particularly, in “Outward. Bound,” Lowrie McGregor and Constance Clark in “The Round Table,” Ysolinde McVeagh in “Maid of France,” Linda Murphy in “Pygmalion,” Margot Finlayson and Susan Moncrieff McCalium

in “You Never Can Tell,” Ethel Rae in “The Cassilis Engagement,” Peggy Hovey and J. Swan in “The Old Lady Shows Her Medals,” to mention but a few of them. This year, which will begin with Drinkwater’s “Bird in Hand" should see the society enhancing its already fine reputation.