Round Too Many Bends
week seemed both the victims of procrustean techniques, though contrastingly. Noel Coward’s This Happy Breed, chopped down to an hour and a quarter’s playing time, proceeded in a series of rapid jerks like lantern slides in the hands of an impatient operator, A more thorough-going adaptation might have made it more of a radio play, but there was enough of Coward dialogue and character-sense ieft to make it entertaining listening. In C. Gordon Glover's The Great Moment (from 2YA the fellowing night) I expected to encounter something more like a radio play. But it seemed rather a greatly elongated and consequently attenuated short story-I felt like poor Alice sadly contemplating the mouse’s tale, with the end in sight but a great many bends to be got round. I found it disconcerting that a radio writer of C. Gordon Glover’s experience should use such machinery dialogue as "Let me help you into the carriage," "Let me tuck this fur rug round you," and could only suspect him of playing for playing-time. So that my gréat moment tended to come a little later than the author’s. Coinciding, in fact, with the nine o'clock pips. two plays I heard this
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https://paperspast.natlib.govt.nz/periodicals/NZLIST19550121.2.21.1
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New Zealand Listener, Volume 32, Issue 808, 21 January 1955, Page 10
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201Round Too Many Bends New Zealand Listener, Volume 32, Issue 808, 21 January 1955, 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.
Copyright in the Denis Glover serial Hot Water Sailor published in 1959 is owned by Pia Glover. The National Library has been granted permission to digitise this serial and make it available online as part of this digitised version of the Listener. You can search, browse, and print this serial for research and personal study only. Permission must be obtained from Pia Glover for any other use.
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