Little Theatres Forging Ahead

Sun (Auckland), Volume III, Issue 922, 15 March 1930, Page 25

Little Theatres Forging Ahead

Repertory Movement i not Affected by Talkies AUCKLAND’S HAPPY POSITION j Despite its effect during the past! few years on the commercial stage, I the talking film can never influence the repertory theatre. This is the opinion of Mr. Kenneth Brampton, producer for the Auckland Little Theatre Society. ‘The advent of the talking film has not done the slightest damage to the repertory movement,” he stated, during the course of a chat recently. “To prove this statement one has only to ; look at the very successful state of I the Little Theatres anywhere iu the ! Empire. “Coming nearer home, the Auck- j land Little Theatre Society has enjoyed a most prosperous time during | the past two or three productions. It \ was at this time that the talkies first j made their appearance here. “Personally, I am not one of that j pessimistic hand which is continually j decrying the speaking film. Consider- | ing the infancy of the talkies many ; notable productions have been j screened here, and very excellent re- i productions of voices have been obtained. These presentations deserved j I he support, interest and admiration of j the intelligent theatregoer. “While all other forms of theatrical entertainment have no doubt felt the effect of the talking film, the Little Theatre stands firmer today than ever it did. Why? The reason is not far to seek. It puts forth a production with which the talkie can never hope to compete. No flat photo-play, with wireless accompaniment can give the atmosphere which is attained and demanded by the master playwrights. “The Little Theatre* and all good, legitimate productions demand real voices and real people. An effective point on the talking screen can be obtained, only with over-emphasis and delivered with a yell. There is no room for subtle merriment or delicate pathos—the true food of the intelligent theatregoer. So much is lost, too, in the talking film, %vhich must be the same at every production. No good aCtor or actress ever really gives exactly the same performance; subtle pauses and influences are all lost as the mechanical talkie hurries along its definitely-appointed path. “According to the latest London papers there is a definite return to good theatre. Quite recently one critic recorded the fact that six of the leading legitimate houses had put out their ‘House Full’ signs all on the same night. This is regarded as definite .proof of the swing of the pendulum as London has favoured the talkies just as enthusiastically as other world centres. “Some indication of the growth of the repertory movement in England, so carefully fostered by the British Drama League, is given by the number of entries for the National Festival, the preliminary I rials of which are now being held all over England and Scotland. This year there were 390 entries, compared with / 3 last j’ear. 11l the eastern area, wuich includes the London district, there is an increase of 50 societies competing for the coveted Howard De Walden Irophy. “The standard of plays to be presented this year is very high, and one of the most valuable uses of the festival is that it is keeping alive the one-act drama, and constantly discovering new dramatists. ‘Today the Auckland Little Theatre stands in a unique position. There is ev.ery indication that the membership this year will be greater than ever. Moreover its performances will most likely be increased rather than curtailed, and it will continue to offer its supporters the finest work of the dramatists of the age. “The Constant Nymph,” from Margaret Kennedy's novel of that name, O’Neill’s "Anna Christie,” Sutton Vane’s “Overture,” and a Galsworthy play ai-e down for consideration this season.”