REVIEW - Weston Mercury and Somersetshire Herald Friday March 31st 1950 - DRAMATIC SOCIETY HOLDS A FAMILY PARTY

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KNIGHTSTONE PRODUCTION OF "DEAR OCTOPUS"

 

There was a lack of warmth and pace in Monday's first performance of Weston Dramatic Society's production of Dodie Smith's "Dear Octopus" at Knightstone Theatre, yet obviously the makings of a splendid production were there.

On the whole, the casting of the seventeen parts was well achieved, Mr. Walter H. Brown (the producer) had obviously rehearsed his players splendidly, they knew their lines, and movements were good. I have no doubt that by this week-end "Dear Octopus" will be a production transformed, and that this (Saturday) evening's final performance will see the production have that cosy, intimate atmosphere so essential to a family play of this character.

The gulf which sometimes seemed to yawn between stage and audience on Monday was brought about by the fact that the audience was so very small, and that the players, the Society's stage staff, and the heating apparatus, had not yet warmed to their job.

        Intervals Too Long

In this play, with two of its three acts divided into scenes, it is vital that intervals shall be kept to the absolute minimum. They were much too long on the opening night, and the production should go at a much swifter tempo over its first two acts. "Dear Octopus" is so well-known that there is no need to detail its story. It is a grand play, glorifying the traditions of family life on the occasion of a re-union for the golden wedding anniversary of Charles and Dora Randolph. Leon Godby and Gertrude Stannard, as Charles and Dora, have a most difficult task in assuming these added years. They become a charming old couple. Leon Godby has engaging Colonel Blimpishness, and is a fatherly, good humoured head of the household.

        The Vital Spark

Gertrude Stannard is cleverly Dora. Hers is a most exacting part, but she never falters. She could, with advantage, assist the production's need for pace by speeding up her lines, but on the whole it is a study full of variety.

Having thus praised the golden wedding pair I am sorry that I must add that despite all they put into their roles they just seem to miss the vital spark. They do not quite reach the mellowness of the golden wedding year - artificiality's blemish is there.

One of the greatest emotional moments of the play is when Charles and Dora are alone in the nursery and they exchange congratulations. That moment fell absolutely flat. I think Mr. Godby was nearer to full achievement on Monday than his partner, who did not seem to be able to get essential feeling into her contribution to give the big moments their value.

        Eager, Human Playing

On this point of reciprocity between players and audience, there was the contrast of the contributions of Bernard Lloyd as Nicholas and Ann Watts as Grace Fenning. Here was eager, human playing, the one thoroughly masculine, unwittingly cruel, and the other shy, sensitive, swaying between misery and rapture. Even in the difficult conditions of Monday evening's performance one warmed to the acting of Bernard Lloyd and Ann Watts; it was sincere, unerringly convincing, and consequently it awakened emotionalism. I have one criticism of Mr. Lloyd. His toast to "The Family" is the big moment of the play. It sums up all Dodie Smith has put into the work, and it should be spoken with infinitely more finesse than he brought to it.

Aileen Lundman as Cynthia, the woman with a past, has a most difficult role. For her the home-coming has heartbreak, and one must feel that in her performance always. She has splendid moments, but is not consistent. Much more should be made of that interlude at the piano. One should sense her disinclination to play, her mounting emotions as grandmother and grandchild sing. Given this, Cynthia's sudden outburst and the dramatic exit are a natural sequence. But Mrs. Lundman gives us no build-up.

        Most Touching Moment

Again, that final moment of breakdown in the presence of her mother is perhaps the

most touching moment in the play - both players failed to give it due significance.

Yet Mrs. Lundman achieved beautifully sensitive playing in that nursery chat with the

problem child, "Scrap". "Scrap", by the way, is played by Mrs. Lundman's daughter,

Gillian. Was it this personal relationship that lifted the scene so remarkably I wonder?

Anyway, it was beautifully done, a special moment of triumph for the Lundmans,

mother and daughter.

There is no guile in the acting of Sylvia Sainsbury. It has forthrightness - she enters,

and we have been introduced and are on excellent terms. She has the gift, and as

Belle she adds just another delightful contribution to her Weston stage successes.

This Belle is breezily and unashamedly herself, buoyantly nonchalant yet conveying

the essential mood of reflection on the past and what might have been.

        Perfectly Pin Pointed

Keturah Tanner's icy, detached, mischief-making Edna is probably the best study she

has contributed to Weston amateur dramatics. It is perfectly pin pointed, and she puts

all that is necessary into the moment when, temporarily, she wrecks "Fenny's"

happiness.

Vastly amusing is Monica Burn's "Hilda", the business woman who makes thousands,

but is plagued with absent-mindedness. With hair lashed in a "bun" Monica Burn strolls

through this part with delightful casualness but at moments on Monday however, she

was too casual - she can speak lines as clearly as any actress on the Weston amateur

stage but she was inclined to "throw them off" in a way that made them inaudible.

Especially likeable is Betty Bostock as Margery, the family "heavyweight." This part is

rounded with homely qualities. Eric Hopkinson as her husband has good comedy moments when making up to "Fenny" as part of the strategy against Nicholas, while Pearl Brookman (Laurel) and Jimmy Cotton (Hugh) engagingly make their small contribution as two more of the Randolphs. Mildred Norman as the nurse has the right "Nanny" manner, while Janet Brown appropriately fusses and fumes as the maid.

        The Children

Then, of course, there are the children. Before the play started, Mr. Walter Brown announced that Sally Alford, who was to have played "Flouncy" had been taken ill, and that Jennifer Mills has taken her place at four hours' notice. Jennifer played the part splendidly and with only one or two minor slips, and was led forward to receive a special round of applause at final curtain. Gillian Lundman plays "Scrap" with delightful assurance.

The Society may have had a casting problem but Anthony Hughes is much too old to play "Bill". He might even be the fron row forward of a senior Weston Rugby team and the hooker at that! To thrust his bulk into schoolboy's pants inevitably introduces the undesirable elements of farce into the straight play. This said, one finds no fault with Mr. Hughes' playing, which is boisterously boyish.

The settings are very good and the stage manager is C.R. Lundman, his assistant being Irene Court.

Profits from the production will be handed to the Mayor for the Silver Jubilee Appeal of the National Playing Fields Association.

                                                                                                                                                                                    "Everyman"