THE LURE OF THE STAGE

Taupo Times, Volume I, Issue 36, 17 September 1952, Page 4

THE LURE OF THE STAGE

fJpHERE is no doubt about the enthusiasm kindled by the movement for the encouragement of amateur dramatie art in Taupo.- The response to the invitation extended to attend the meeting ccnvened for the purpose of furthering it is encouraging evidence, and the unanimity which marked the proeeedings augurs well for its success. The lure of the stage touches something that is deeply-rooted in most of us. From our earliest years we have enjoyed the game of "Let's Fretend." Little girls love to dress up and act as grown up women. Little boys, inspired by what they have read, or seen at the cinema, masquerade as cowboys, soldiers, and so on. From these juvenile manifestations it is fairly safe to conclude that miming is something inherent in our make-up as human beings. Those who have watched children engrossed in a game of "Let's Pretend" must admit that within the limits of their repertoire and "props," many of them act very well, and with an absence of selfconsciousness that grown-up actors might well envy. In short, the perfect soil for the seed is at hand. All that is now required for the future success of the Taupo Dramatie Society is careful cultivation. It is stated that advice and assistanee in that respect will be made available. That is fortunate, and encouraging to those who have intimated their desire to be playing members1. It is as true of the amateur stage as it is of most things in this life that "Many are called, but few are ehosen." Various considerations enter into the casting of a play — voice, personality, the ability, to be natural and cultivated by training and word practiee, to "live" the part as to the manner born (see Shakespeare's advice to the players in "Hamlet"). There is, too, the matter of "type." Other things being equal, there still remains to be considered the' suitability of the type of individual to the character and .atmosphere of the piece. These are questions that can

, most satisfactorily be divided by prcducers qualihed by training, experience and diseernment, and if sucfe services can be made available these will be most valuable. But the successful presentation of a play is not solely dependent upoo the people on the stage. Behind it,various other members associated with its production — the propertymistress, for example — have to be trained in the efficient discharge oi their duties. There are, in fact, plenty of jobs to go round, and the essential ingredient for a sound performance is good team wqrk. Finally-play-reading should not be underestimated. It should be systematically carried out as a valuable part of the education in the drama, and a nursery for the development of latent talent among the younger members especially. We wish the Taupo Drama Club every success. '