REVIEW - Weston Mercury and Somersetshire Herald Friday October 5th 1956 - TRIUMPH FOR 15-YEAR-OLD WESTON 'ST. JOAN'

 

BOLD WESTON DRAMATIC SOCIETY EXPERIMENT JUSTIFIED

​

Sally Alford, aged 15, has shown that it is possible

for a girl of her years to give an extraordinary vital

performance in the great role of Shaw's Saint Joan.

When the curtain fell on the opening night of Weston

Dramatic Society's production of the play at

Knightstone Theatre on Monday, and one noted how

the small house sustained almost frenzied applause,

it was clear that she and this very ambitious 

production had triumphed.

No local amateur production of recent years has

stimulated such piquant interest. When the Dramatic

Society announced that it was going to do "Saint

Joan" with Sally Alford in the name part, the

immediate reaction of many was, "Impossible!" It was

a conclusion from which they were unlikely to be

moved by the further news that the society had

appointed a young and comparatively inexperienced

producer, W.J.B. Salisbury.

But is there really any reason why the Maid should

not be played by a maid rather than a matron? It

would be ludicrous to measure Sally Alford's Saint

Joan against Sybil Thorndike's, but like the great

actress, the young amateur must convince her

audience, or be written off as a failure. Despite its

inevitable immaturity, Sally Alford's Saint Joan engrossingly holds interest, and is an astonishingly brilliant achievement for one so young.

If one waits on experience one may get nowhere, but it must have taken the courage of a Saint Joan to tackle this role. Not only is Sally Alford word perfect, but all through there is a fine intellectual quality in her performance. Perception of the weight and meaning of her lines flows naturally, while her splendid elocutionary achievements are of immeasurable help in enabling her to maintain the stature of her role. Her every word is perfectly audible, and she speaks with variety of tone and expression that contribute much to the freshness and appeal of her performance. 

        The Subtleties

In the resolute chin, the play of facial expression, and the manly gait, she is also, physically, a convincing Joan, but in some of the subtler shades of interpretation she is excusably not so satisfying.

Joan's head may be turned by success, she may even become arrogant, but withal she has abiding simplicity and humility; she but obeys her voices. She is the individual ground between the wheels of State and Church, and cannot escape her destiny.

In the closing scenes I sensed at moments that Miss Alford suggested wilfulness of character which detracted a little from full realisation of the tragedy of a simple soul. The supreme testing moments of her playing are, of course, in the final tragedy, and it is understandable that she should not realise them completely.

        Poetic Moment

Even so, the trial scene has its moments of finely impassioned performance. When Joan realises that if she avoids the stake she must suffer imprisonment for life, and prefers the flames, Shaw rises to poetry - lines that are exquisitely spoken by this young actress.

A popular impression is that the critic is a person who goes to the theatre to sit and scowl. I always welcome my theatre-going with the will to appreciate and enjoy. One of the most exciting aspects of amateur theatre is that one never knows when a new star is going to emerge in the local firmament. There is one twinkling very brightly at Knightstone Theatre this week.

        Producer's Achievement

And what of the young producer, W.J.B. Salisbury? The prospect of producing "Saint Joan" is something at which the most experienced may well boggle. There are 24 players to move on and off, six scene changes, in addition to all the problems of interpretation.

Mr. Salisbury's achievement ranks second to that of his leading lady. He, of course, had his part in shaping Miss Alford's performance, and that of the other characters, and he has obviously directed with great skill. He has observed Shaw's dictum that "There are no villains in this play." Characters in general are well contrasted, and the playing has restraint that gives it strength.

It is a delightful surprise, in fact, to note that so youthful a producer has been able to achieve so mature a conception of the play. The settings, designed by Mr. Salisbury and his brother, Reg., are attractive, and are so arranged that the scene changes are swiftly achieved.

Grouping, I think, might be improved here and there, and it is a pity that more use has not been made of lighting, which can greatly enhance mood in a play of this character.

        The Climax

More, too, might be done to build up

the climax, which is not sufficiently

powerful to suggest that Joan is really

being taken out to the stake. Possibly,

in wishing to avoid harrowing his

audience, Mr. Salisbury has omitted

any reflection through the windows of

"the glow and flicker of the fire which

can now be seen reddening the May

daylight," but the scene needs this

effect.

It is surprising to find that the Epilogue,

so important to the play, has been

dismissed in a few lines, with the

characters reciting them while lined

up as though to take a curtain. Cuts 

may have been necessary to curtail

running time, but the play's ending 

should not have been sacrificed in

this fashion.

These criticisms apart, Mr. Salisbury

has achieved a production which thoroughly justifies the Society's confidence in him,, and which is a very satisfying evening's theatre.

        In Support

He has been fortunate in his supporting players. I especially like Cyril Drummond's Peter Cauchon, Bishop of Beauvais. The part is both excellently spoken and acted, with a finely intellectual appraisal of its subtleties. Leighton Norman is firmly authoritative and impressively dignified, as Archbishop of Rheims, while Reg. Salisbury has double success as Dunois, Bastard of Orleans, and Chaplain de Stogumber.

As Dunois he presents a man of fine character, dynamic, open-hearted, a leader of men, while as the Chaplain his ruthlessness in striving to get the Maid sent to the stake is followed by a brilliantly acted scene of remorse at the climax.

Harold Dakin's playing of the weak, effeminate Dauphin, has audacity that might have wrecking consequences if carried a little further. But his playing is always in bounds, and I think this role is a delicious creation.

        Thoroughly English

There is thoroughly English contrast in Walter Brown's playing of the Earl of Warwick. It is a performance that is engaging in its suggestion of casualness, and is cleverly conceived.

Andrew Trott gives the play pace at the start, with his full-bloodied rages as Robert de Baudricot, while among the smaller parts, S.E. Young pinpoints tremendous character into his few moments as ill-tempered, arrogant Mgr. de Tremouille. Ralph Thomas, amid the hostility of the trial scene, brings a touching study of the gentle character of Brother Martin Ladvenu, while the Inquisitor, Milton Francis, avoids the theatrical, and uses his deep voice with admirable expression.

        Bluebeard

Amusing Giles de Rais (Bluebeard) receives a neat, mincing performance from Neville Redman, but the same player as the Prosecutor at the trial tends to over-act a little. Foster Tanner ably contributes two performances, as Bertrand de Poulengey and De Courcelles, and there is some down to earth playing by Frank Thomson as bluff Captain La Hire, and by Terence O'Flynn as the Steward.

Other minor parts are taken by Keturah Tanner (Duchess de la Tremouille), John Snook (brightly spoken Dunois' Page), Alan Yeates (Warwick's Page), and Executioner (Frank Thomson). Court Pages are Christopher Shrapnell and David Venn, and Courtiers Phyllis Cooksley, Anthea Crundall, Margaret Eckford and Anne Sampson. Assessors are Laurence Orme, John Hayes and Brian Pike.

Scenery is by James Fredricks, and the intermission music is by Leonard Silver at the piano. John Pugh is stage manager, Mrs. Rumsey has charge of the wardrobe, and Sheila Bennett is responsible for sound effects.

Concluding performances are on Saturday.                                                                                                      "EVERYMAN"