THEATRE IN WAR TIME

Waikato Times, Volume 127, Issue 21194, 17 August 1940, Page 13 (Supplement)

THEATRE IN WAR TIME

PRODUCTIONS IN LONDON—NEW PLAYS BY WOMEN

fßy Janet Leeper) LONDON, July 8 Three new plays by women have been the feature of the war-time theatre in London this season—“ The House in the Square,” by Diana Morgan (who also was part author of the record-breaking Gate Revue); “Rebecca,” by the well-known novelist Daphne du Maurier, a dramatised X'ersion of her famous book; and “Jeannie,” by Aimee Stuart, a gay romantic comedy which first brought a new star, Barbara Mullen, to the notice of the public. To begin with the latter, it is difficult to believe that Miss Mullen was not born to fame, and this play is a perfect vehicle for her unsophisticated charm. First produced at the little Torch Theatre in Knightsbridge, where, sandwiched into a tiny theatre, a select audience is able to see many interesting new productions, the play was transferred to the West End, where it has proved an unqualified success. Miss Mullen comes from the West Coast of Ireland and the island with the picturesque villagers and fisher-folk which was seen in the film “Man of Aran” was hfir home. More Serious Stuff “Rebecca” is more serious stuff. It is a play of atmosphere, and creates a lovely feeling of a country house . For this the beautiful set designed by Roger Furse is partly responsible, an interior with a staircase descending into it, which earned rounds of applause on its own account on the opening night. The whole play is dominated by a sense of mystery and there are thrilling moments as the plot unfolds. “The House in the Square” is not only stuffed full of good lines and witty comments, but gives a faithful picture of three generations in relation to one another grandmother, mother and daughter—and of the period 1910-1940. The suffragette of the first scene, doing lawless acts of violence, has become a capable mother in the last scene. She now has the problem of a daughter of her own, who wishes to commit acts of sabotage in an orgy of pacifism. The character of the grandmother, a great lady of the Edwardian Age, played by Lilian Braithwaite, is beautifully drawn, and her transition from pre-war hostess running charity balls to wartime matron running a hospital is absolutely true to life. Miss Braithwaite’s final portrait of the old lady still dominating everyone by her strength of character and charm in the last scene is masterly. A play of this kind provides an interesting commentary on English life and character, and the fact that it was written and produced in wartime gives a particular topical flavour to it, which makes it doubly interesting. Bernard Shaw’s Latest Play Bernard Shaw’s latest play, “In Good King Charles’ Golden Days, ’ which was produced at the Malvern Festival last year was seen in London for the first time this season. It is one of his most pleasant creations, a froth - and - bubble champagne draught of good talk. Charles 11, Sir Isaac Newton, George Fox and Godfrey Kneller act as mouthpieces for Mr Shaw’s views on life, but the scene which everyone will remember is the last when Charles, tired

of his Court and of his ladies, seeks i refuge in the Queen’s apartments, i A tender solicitude, a sympathy too j often absent from Mr Shaw’s I polemics, pervades this scene, which I is one of the most moving that Mr | Shaw has ever written. He has I j painted a compelling portrait of j S Catherine of Braganza, the Portu- | ' guese Queen, played by Irene Van- 1 j brugh with great distinction and there ! is nothing in Mr Shaw’s sympathetic I portrait which does not square with I the facts. | The classics have not been for-

gotten in this difficult season when every theatre has had its work cut out to keep open. Shakespeare at “Old Vic” At the “Old Vic” Shakespeare’s “King Lear” was seen in a magnificent production which drew 35,000 people, in the first three weeks of the run, and was succeeded on May 29 by “The Tempest.” Earlier in the year, Marlowe’s ! arresting medieval play “Doctor Faustus,” was staged at the Rudolf 1 Steinier Hall, following on an interesting dramatisation of Dickens’ novel “Great Expectations.” This latter venture by a talented band of young actors failed for lack of financial support, but was one Qf the best productions seen in London since the war. Emlyn Williams’ charming comedy. “The Com is Green,” continues to draw audiences after eighteen months’ run and has outlasted his new play, “The Light of Heart,” produced since the war, which bade fair to be as popular as his earlier play. In Its Fourth Year “Me And My Girl,” the racy comedy of Cockney life at the Victoria Palace, has the record of the second longest run in the English theatre. It is in its fourth year and seems likely to outlast the war itself.