REVIEW - Weston Mercury and Somersetshire Herald Friday April 29th 1960 - IT WOULD BE EVEN BETTER ON TELEVISION

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WESTON DRAMATIC SOCIETY PRESENTS 'SMILIN' THROUGH'

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How paradoxical it all is! Those who are really concerned with the

live theatre would never wish to admit the advantages of television,

but Langdon Martin's play "Smilin' Through," which Weston-super-

Mare Dramatic Society presents this week, seems to be at a

disadvantage on the open stage.

Joan Ward's Playhouse production achieves so much detail on

which the camera lens could dwell. There are fine character

studies, and many of the exchanges are excellently handled with

economy of movement, the emphasis being on lines and

expression, with excellent make-up and costuming. The players

have poise and a sense of the period, and there are many scenes

with little movement but much charm which would benefit from the

close-up treatment.

        Theatrical Mechanics

And then the production is weighed down with theatrical mechanics

-  long and obtrusive lighting effects, an hiatus as a gauze is drawn,

musical effects - conspicuous impedimenta which deprives the

production of its magic. How quickly we notice an intrusive

microphone when it dips too low before the television camera!

"Smilin' Through" is a straightforward romance - the tale of two

young people in love but kept apart by a bitter feud between the

two families and the memory of a tragedy 50 years before. The

play takes us back 50 years to see the events of that day, and we are then transported onwards to a happy conclusion.

The quick changes of appearance in the cast are very well handled, and Neville Redman, the embittered Uncle John, and Keith Ward, his friend Dr. Harding, give fine performances - particularly as the old men they become. Their slow movements and shaky condition are very real.

        Sympathetic Character

Valerie Chubb - the bride who was murdered in her fiance's arms on that tragic day 50 years before - establishes a sympathetic character in a short appearance, and there is an excellent contribution, too, from Sheila Banwell as the maid. 

A large burden of the play falls on the shoulders of Mary Mee, Kathleen, the girl in love with the son of a murderer. She is torn between devotion to her uncle and love for Kenneth Wayne, and her predicament is a real one.

Miss Mee succeeds in making it a very personal problem, and her performance in all its phases of light and shade, happiness and sadness, is spontaneous, vital and real. She has become a compelling young actress, and her poise and personality have developed delightfully - but she must slow her diction.

Brian Pike is a resolute young man and a worthy husband for Kathleen. As the villain, however, Brian Morton-Hicks will have to be more convincing in his protestations if we are to believe him, and he will have to alter his tones to the England of 1860 - not 1960.

        Ghostly Comments

There are important contributions from Jill Redman and Joyce Wilkinson - whose ghostly comments open and close the play - and Doris Joyns, Jenny Briggs, Jean Pevelle, Christine Threasher (who sings the theme song), Eric Wilkinson and Brian Gosling.

Musical backgrounds are provided by Weston Youth Orchestra, and the attractive setting - rather too profuse, if anything - makes clever use of artificial flowers.

Stage manager, K.M. Ward, assisted by P. Dening and D. Embden; wardrobe mistress, D. Dening; property mistress, T. Findlay; business manager, W.O. Beament, assisted by D. Hemming.

Concluding performances are to-day and to-morrow, when there are afternoon and evening performances.                R.M.D.