STORM OF PROTEST

Sun (Auckland), Volume IV, Issue 1004, 21 June 1930, Page 26

STORM OF PROTEST

Expressionist Play Convulses Audience MEANINGLESS DRAMA There is, unless I am greatly mistaken, a reaction setting in against that school of pretentious but mostly meaningless ‘'expressionist*’ plays •which have become so familiar to audiences at private producing society performances, says a London writer. There has been a growing spirit of restlessness at a number of these productions lately, which came to a climax at that extraordinary evening at the Savoy Theatre on a recent Sunday, when the most amazing of all the series—Lionel Britton’s “Brain” —convulsed the greater pan of the audience with laughter. I know, of course, that the earnest and faithful young men and women in the gallery were furious with the less reverent for failing to grasp the play’s "messages”—in fact, there were some angry scenes toward the end — but the fact has to be recognised that works such as this are doing much to prejudice playgoers against any type of philosophical drama, however genuine, because of their past experiences. INCOHERENT WORDS Mr. Britton may have had some very sound ideas in his conception of a world-controlling Brain constructed in the Sahara Desert, but the staggering volume of incoherent words which were launched at the audience from the mouths of nearly 40 characters swiftly turned the former from mere boredom to the most helpless hilarity I have seen in a theatre in such circumstances for years. When the off-stage voice representing "Brain” had been talking unceasingly for 10 minutes and then remarked, “I shall soon talk no more because there will be no one left to listen to me,” there were yells from the stalls; a later exclamation, "This must come to an end!” produced an equally unintended result. If any members of the audience succeeded in deciphering a "message” from this work, I hope they have not neglected to fill in the form handed to them, which asks them to state their general impression of the play (a) emotional, (b) intellectual. But, I think this production by its sheer extravagance of "expressionism,” will put a stop to the flood of such so-called plays. If so, Sunday night’s experience will have been justified. Ursula Jeans is one of the most lovely actresses on the London stage today and another proof that good looks and good acting are not always divided. She li a s played in drama, comedy and musical comedy. Miss Jeans has played with notable success in Galsworthy’s "Escape.” "Mud and Treacle,** with Tallulah Bankhead, "P assing Brompton Road” with Marie Tempest. "High Treason. me nay s the Thing” and "The First Mrs. Fraser," as well as numberless other productions.