The Noisy Climax
T was a nice change from the Grand Guignol treatment of De Maupassant’s Little Roc to my next Theatre Royal encounter, H. G. Wells’s The Country of the Blind. Sir Laurence Olivier was superb, his beautiful voice bringing out a lyricism not so obvious to the mere reader, and his interpretation giving due weight to the human dilemma as well as to the philosophic irony. But Theatre Royal has its drawbacks-chief of them the tendency of the producer to ram home his emotional points with enormous earfuls of over-orchestrated sound. (Or can it be purely mechanical cover for some routine cast activity like communal clearing of throats, or paying of compliments?) We are proud to think that the NZBS manages without such rococo excrescences on the smooth production line, which suggests (if mechanical) that our casts are self-sup-porting and non-catarrhal, or (if artistic) that New Zealand audiences are able to scent a climax without having to have |
their noses rubbed in it,
M.
B.
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https://paperspast.natlib.govt.nz/periodicals/NZLIST19541001.2.19.6
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New Zealand Listener, Volume 31, Issue 793, 1 October 1954, Page 11
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167The Noisy Climax New Zealand Listener, Volume 31, Issue 793, 1 October 1954, Page 11
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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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