Another Raven
HROUGH digests and other magazines the knowledge of the scientific specialist is quickly spread. This means that a playwright cannot rely upon an unusual] plot if such is simply a stock pattern of behaviour known to the psychologists. Take, for example, Richard Llewellyn’s Poison Pen, an NZBS production I heard over 3YA. From the outset the listener could be almost certain who the culprit was. He would have been surprised if anyone except \the vicar’s sister had written the vile letters which were disastrously affecting the village life. The play needed a deeper justification, but though I waited for the author of None But the Lonely Heart to open new doors to my understanding, the play ended on the note of "so what?" The acting also seemed a a little stilted, but if a play is not very real it can hardly inspire the cast. If, on the other hand, one should protest that it was merely entertainment then again the theme was such that it could only be treated at the one level where entertainment and serious intention cannot be separated and where if it fails in the one it fails in the other also.
Westcliff
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New Zealand Listener, Volume 26, Issue 660, 29 February 1952, Page 10
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199Another Raven New Zealand Listener, Volume 26, Issue 660, 29 February 1952, Page 10
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Copyright in the work University Entrance by Janet Frame (credited as J.F., 22 March 1946, page 18), is owned by the Janet Frame Literary Trust. The National Library has been granted permission to digitise this article and make it available online as part of this digitised version of the New Zealand Listener. You can search, browse, and print this article for research and personal study only. Permission must be obtained from the Janet Frame Literary Trust for any other use.
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