Theatre Diaries 1967



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A ~
B 1967
 
Jan. 11.: WED:Wednesday, January 11, 1967.
to Ottawa for the first official perf.performance of /
theThe Centennial Play at the Little Theatre. Much /
social emphasis: Madame Vanier present &and de-/
lightful as always. But [Boretsky]sicBoretski’s production /
mischievous &and inexcusable: six mirrors on stage &and /
much back-projection of film, to give wry comment /
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on the action. This cd.could have been good, but it was used so /
stupidly it was a bore &and a handicap. Nanabozho much dimin-/
ished &and Fox played as stupid, whchwhich made all their stuff seem /
silly. The Maritime section cut to less than ¼one quarter of its total: /
Québec blown up wth.with dancers, film &and (it must be said) a /
charming performance by Charlotte Gobeil: Ontario scene /
heavily cut—the Inspector given the lines of Mrs. Moodie, /
Kalm, Ian &and the Irishman
, so that he had no coherent char-/
acter at all,the teacher caricatured—the children acting /
childishness wth.with every cliché of the stage schoolroom, as /
stuttering, lisping, uncontrollable giggles, etc., v.very vulgar &and without /
any of the charm of childhood: the Prairies produced to death /
&and text cut severely: B.C.British Columbia ghastly, set in a '90s bawdy-house /
&and Judge Begbie chasing the Madam, text re-writtenrewritten &and /
garbled. The obvious thing was that nobody trusted the /
authors; not just cutting, but mischievous hacking &and /
re-writingrewriting by inexpert vulgarians. I protested: Goldschmidt /
protested, but nothing can be done. I protested to CPCanadian Press, to /
Time &and on the CBC-TV news. Whittaker protested in /
Saturday’s G. & MGlobe and Mail. But to what avail? Two lessons learned: /
1. never get involved wth.with amateurs again: 2:. never /
do anything for patriotic reasons. And, of course, realize /
that to Canadian directors, an author is merely a /
provider of raw material.
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Jan. 13: FRI.: Friday, January 13, 1967.
in Montreal &and to Place des Arts to The /
Marriage of Figaro
, Mario Bernardi conducting: musically /
good, visually dull production by Irving Guttman, &and /
awful, skating-carnival costumes by [Mallabar]sicMalabar.
Jan. 23: MON: Monday, January 23, 1967.
to Hart House to Drama Centre’s Edward II /
directed by Leon Major: the Marlovian faults—not much /
shaping of plot, no humour &and unvaried diction—were /
thrown into prominence: the virtues—intensity, &and elevated /
poetry—were not well served. But the general effect was /
creditable, &and one was glad to have seen it. Being /
students &and pseudo-democrats they make much of /
Gaveston being a homosexual &and nothing of his being /
low-born, whchwhich diminished the King. But it was /
good, on a respectable university level.
Jan. 31: TUE: Tuesday, January 31, 1967.
in Trinity Chapel, The Play of Daniel, done by /
Trin.Trinity, the Poculi Ludique Societas &and some people from /
the Conservatory. Directed by Caroly Holt, a student of /
mine &and wife to young Jno.John H.Holt, formerly of Pbro.Peterborough. Musi-/
cally excellent; well-directed; spectacle bad because /
costumes cheap &and shiny—lacked weight; also singers—/
notably Daniel (Daniel Tait) look so awful—epicene /
&and slumped tenors, wooden basses. Many good moments—/
the entrance of the Queen, dancing with finger-/
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cymbals: appearance of MENE TEKEL, suddenly jerked into /
the centre of the nave on an (almost) invisible wire: v.very gd.good /
red &and gold lions. We waited 20twenty mins.minutes to begin as the Bishop /
had not come (he &and Bp.Bishop Wilkinson at a funeral); Provost &and /
Chancellor &and Dean of Div.Divinity in their robes gave a medieval air /
to the proceedings. B. &and I named as patrons, as we gave $15fifteen dollars /
toward it.—This is the kind of thing universities shd.should do.
Feb. 4. SAT.: Saturday, February 4, 1967.
at Hart House, St. Michael’s does Middleton’s /
A Chaste Maid in Cheapside directed by Wm.William Glassco. Vulgar &and /
amateurish &and marred by the phoney lustiness so dear to /
undergraduates who have no real lustiness. The chaste maid was /
the frozen maid, the fine scene after the christening was a /
brawl of amateur drunkenness, &and Whorehound’s terrible death /
was made absurd because he was wounded in the rump &and /
sat on a bloody towel. Glassco shd.should be ashamed of himself. /
Costumes v.very gd.good (N.B.: Whorehound does not die, but this was /
obscured in this prod.production, much of whchwhich was inaudible.)
Feb. 9: THUR: Thursday, February 9, 1967.
the Poculi Ludique Societas do The Coventry Pageant /
of the Shearmen &and Taylors
in West Hall, U.C.University College, having added Octavian /
&and the Sybil, &and the demons from the Chester Play, &and the Slaughter /
of the Innocents
. V.Very well done: 2two pageants for Herod &and Octavian, /
a central dais, &and another at the west wall for Bethlehem. Cos-/
tumes good, except Gabriel who wore an authentic /
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cope, too shiny &and modern. Good performances, esp.especially Hemblen /
as Joseph &and Mulholland as Herod—a wicked sorcerer, hook-/
nosed &and sneering, who went mad v.very noisily &and alarmingly. /
Gabriel (Mlodzik) a bit queeny, esp.especially when he essayed /
to sing as a counter-tenor &and was merely falsetto. The /
Demons
v.very cheerful, toused my beard &and carried John [Leyole]sicLeyerle /
bodily off to hell, to his amaze &and everybody’s delight. /
The speaking, in Middle English, was far ahead /
of Edward II.
Feb. 11: SAT.: Saturday, February 11, 1967.
to Stfd.Stratford to see dress rehearsal of The Inspector /
General
. Delightful &and especially so after our recent dose /
of amateurism. Charming sets, &and costumes wth.with just the /
proper flavour of caricature by Leslie Hurry. M.L. has /
not been able to keep his resolution to make the characters /
lifelike: they are conceived as caricature &and to impose an-/
other mode on them is to falsify them. The version by /
Raby has a lot of arse &and fart in it to be contemporary, /
&and as the play is not contemporary this is a false note. /
David [Williams]sicWilliam haughtily defends this by saying that /
Yeats made a version of Sophocles without knowing /
Greek: yes, but he was also a great poet.
Feb. 19: SUN: Sunday, February 19, 1967.
Opera Schl.School Rape of Lucretia: do not like /
this work greatly &and like it less when the Christian /
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moralizing is cut out, for it seems to me to be vital to the whole. /
Margaret Zeidman sang splendidly as the Female Chorus, &and /
Peter Milne as Tarquinius: Ermanno Mauro incomprehensible /
as the Male Chorus—just a chocolate-flavoured Italian noise. /
Lloyd Dean, as Junius, a dull stick. Nancy Greenwood as Lu-/
cretia
v.very solemn &and portentous whchwhich somehow made her /
much-touted virtue seem comic—the virtue of a hippopotamus. /
Looked well: Lawrence Schafer designed it.
Feb. 20: MON: Monday, February 20, 1967.
to O’K.the O'Keefe wth.with B. to D’Oyly Carte prod.production of Patience. /
Economical, travelling set, unlike the old lavishness, but costumes /
good. Bunthorne now wears a vie de BohemeBohème outfit instead /
of his velvets, but Grosvenor is unchanged. Pretty well sung, but /
oh, they are so old! Donald Adams, the Col.Colonel, simply hasn’t the /
breath for his Heavy Dragoon song; Grosvenor was a well-/
preserved 50fifty to Patience’s 35thirty-five; the rapturous maidens were all /
matrons, &and British matrons at that. Isidore Godfrey con-/
ducts with all his famous attention to detail, but if I am /
not mistaken some tempi have slowed down. John Reed, /
the Bunthorne, looks uncommonly like Robt.Robert Helpmann /
&and dances charmingly.—But a good eve.evening because of the /
music &and the wit. What a gorgeous fossil of 19thnineteenth /
cent.century theatre this is, &and how well it speaks for /
the past!
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Feb. 22: WED: Wednesday, February 22, 1967.
wth.with B. to the Royal Alex to the Joffrey /
Ballet. Viva Vivaldi! good classic stuff: The GreenTableThe Green Table /
the old Jooss piece, v.very well done &and still has /
a formidable punch—Zomosa fine as Death: Cake /
Walk
Cakewalk
a good idea—minstrel show &and [illusions]sicallusions to the /
music of L.M. Gottschalk—but they had not enough /
ideas, &and they guyed the romanticism heavily &and /
vulgarly, &and vulgar ballet is peculiarly offensive—/
so a good opportunity was missed. Young, attract-/
ive co.company &and costumes &and décor fresh &and handsome. /
But what a queeny audience!—Met Mirvish, who /
hopes to get the APA cocompany for 8eight wks.weeks in the autumn.
Feb. 23: THUR: Thursday, February 23, 1967.
O’Keefe for The Pirates of Penzance. /
Perfunctory &and heavy: all the wit thrown about like /
porridge. John Reed as the Major-General, was muddy /
in his patter: no rhythm, whchwhich made Henry Lytton /
a genius at this. The bright spot was Valerie Masterson, /
who sang Mabel as if it were Lucia. Silly old business, /
as when the police hide in the chapel by sitting on /
the floor, L.left, in plain sight—because in the old set /
there was an aisle there. And they have robbed the /
pirates of their beautiful kilts, whchwhich made them look /
as if designed by Skelt himself.
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Feb. 24: FRI: Friday, February 24, 1967.
to The Father at Hart House, last of the Drama Centre /
season. V.Very well done; sensitive direction by David Gardner. Good /
set, using the whole stage, by Martha Mann, &and costumes good, /
though as always the uniforms don’t fit &and no soldier’s boots are /
polished. Rex Southgate v.very gd.good in the lead, wall-eyed &and keyed-up, /
&and well-opposedwell opposed by Clare Coulter’s fatly, calmly malignant Laura. /
Eleanor Beecroft gave great quality as the Nurse; we must /
have more older people.—And what a play! Raised echoes of /
my own childhood, &and some experience in every man present, /
I shd.should imagine. Now—this is how university theatre shd.should be!
March 2: THUR: Thursday, March 2, 1967.
to the Coach House for Women Beware /
Women
: once again Toronto massacres Middleton. V.Very bad /
speaking, much of it incomprehensible. Men’s costumes /
laughable
: codpiecescod-pieces that cd.could have concealed footballs, but /
empty &and giving an effect of prolapsus uterus. Crowded &and /
we sit on a buttock &and a half each, so left after act 2Act II, at the /
first interval: we grow too old for the misery of bad theatre.
March 14 – 18:Tuesday, March 14, 1967 to Saturday, March 18, 1967.
Central Ont.Ontario Drama Festival, whchwhich I /
adjudicate. How it has improved since the first I saw in – /
was it 1932? All Candn.Canadian plays: Line of Vision by /
Norman Williams – experimental but safely so, &and dull: /
The Adventures of Mendel Fish by Aviva Ravel/
Jewish charm, v.very derivative, shallow &and muddled: /
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Out Flew Thethe Web &and Floated Wide by Martin Hunter, /
a good, old-fashioned family play: Daily News From /
The
from the Whole World
by Rae Davisavant-garde &and well /
done action without drama stuff, but no dialogue /
or acting to speak of. So gave Hunter the prize, &and /
also Best Supporting Actress to Muriel [Cuttle]sicCuttell, Fred’s /
first wife. – B. says I did the adjudications well.
March 18, SAT.: Saturday, March 18, 1967 (matinee).
to matinee of Albee’s A Delicate /
Balance
with B. Dialogue v.very mannered, &and not helped /
by the need to yell in the O’Keefe. Plot silly: they groaned /
over decisions they were not compelled to make. But /
the Cronyns acted it above its deserts.
March 23: THUR: Thursday, March 23, 1967.
GeoGeorge Friend offers St.Saint Joan all but /
Epilogue as his Phil. M. exercise. Dull, as he has mediocre /
actors (whchwhich he cannot help) &and hounds them around the /
stage nervously (whchwhich he can). The ineffable Silverman /
plays the Dauphin with a teddybear, v.very queenie! Barbara /
Friend
is Joan: good actress miscast. A dismal eve.evening.
March 27: MON: Monday, March 27, 1967.
National Ballet’s new Swan Lake, re-/
done
re-/
done
by Erik Bruhn of Copenhagen. Excellent on /
the whole &and a triumph for this group who have /
risen from nothing. Little swans v.very bad: otherwise finely /
danced if a bit short on magic. Desmond Heeley’s /
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décor magnificent: looked like the Pena Palace. – They have /
changed Rothbart into a Black Swan Queen (Celia Franca) /
whchwhich changes the basic situation strangely. I said to Tanya /
Moiseiwitsch
Not Swan Lake, but The Well of Loneliness. /
Tried this on Hamilton Southam also &and coaxed a smile to /
his wooden countenance. Like most civil servants it is /
far harder to cheat Hammy of a smile than to charm him /
to a tear
. Party afterward: a good evening.
March 30: THUR: Thursday, March 30, 1967.
to Trinity to Poculi Ludique prod.production of Rafe /
Royster Doyster
Ralph /
Roister Doister
: I last saw it in Malvern, wthwith Thesiger as /
[R.R.R.]sicR.R.D.
&and Ralph Richardson as MerrygreekMerygreeke. This was a /
jolly, rough piece of work, directed by Joel Kaplan. Such /
ugly costumes! But a fresh, youthful show.
April 3rd MON: Monday, April 3, 1967.
Opera Schl.School Dialogues Des Carmelitesdes Carmélites. /
Excellent, dramatic, moving. Fine décor by Lawrence /
[Shafer]sicSchafer
. M. played a speaking rôle (Vegetable Seller) broadly /
&and well. Last scene a great dramatic composition.
April 19: WED: Wednesday, April 19, 1967.
to RoyRoyal Alex wth.with B.: Don Harron’s /
Centennial Spring Thaw. A thin show; Lund’s dances /
the best things in it. Harron’s characteristic sour, /
sniggering tone &and 2two hours of detraction of Canada /
[becomes]sicbecome wearisome &and cannot be negated by a weak /
patriotic song at the end. It underestimated us /
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so blatantly, as a country &and as an audience. These /
Centennial outbursts lack softness, lustre &and depth. – Dinah /
Christie
fresh &and delightful, &and Douglas Chamberlain /
promises well as a comedian. But Harron’s wit cannot /
sustain a show of this length.
April 24 – 29: Monday, April 24, 1967 to Saturday, April 29, 1967.
in N.Y.New York. Saw Black Comedy: P. /
Shaffer
. Idea too frail to sustain it &and the acting /
farcical but not always skilled. You Know I Can’t /
Hear You When Thethe Water’s Running
, we thought /
v.very well written &and beautifully played, esp.especially the third /
play I’ll Be Home for Christmas: theme of marriage /
broken by the coarse insensitivity of the wife is /
surely something new? War &and Peace by the /
APA co.company a dull propaganda job imposed upon /
some disjecta membra of the great novel: Andrei’s /
first wife a Negro – democracy outrunning art-/
istic discretion? – The Apple Tree, excellent musical. /
Interesting to see the one-act piece in favour again. /
– Also saw the film of Ulysses, v.very fine.
May 12: FRI: Friday, May 12, 1967.
Royal Alex to see Bristol Old Vic do /
Romeo &and Juliet: refreshingly quick &and complete in /
concept. The story v.very well emphasized. Good rep.repertory /
standard in acting: Juliet (Jane Asher) fresh /
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&and pretty but works too hard, &and fell short of tragedy, as did /
Gawn Grainger as Romeo: a middle-class pair. Frank /
Middlemass
good &and really moving as Fr.Friar LawrenceLaurence. /
And the story &and poetry sustained them all, for they /
trusted it. Rather economical in costume &and /
mounting, to its hurt. But the total effect was /
good, moving &and really Elizabethan—direct but not /
simple or flat.—But I saw the great prod.production in whchwhich /
Gielgud was the most musical &and poetic of Romeos, /
Peggy Ashcroft a tender, exaltedly loving Juliet, &and /
Olivier an electric Mercutio, &and Edith Evans a nurse /
out of a Dutch master: I can never forget the wonder of /
the poetry spoken wth.with so much love when RRomeo &and JJuliet first /
meet, or the pathos of the Tomb Scene. It had such /
high breeding—not the [Zefirelli]sicZeffirelli dirtiness, described /
by Silvio [Narrizano]sicNarizzano as the real thing—a coupla kids /
with hot pants for each other.
Real? toTo whom?—/
This version changes An open etcetera, thou a poperin /
pear
(2.1)(Act II, Scene I) to An open arse, thou a… whchwhich makes no /
sense &and does not scan but pleases the present craze for /
coarse speech on the stage vide Flanders &and [Swan]sicSwann's /
Pee, po, belly, bum, drawers!parody. In Balcony /
Scene
recorded nightingales, but so loud &and coarse /
they seemed to be the size of turkeys!
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May 27: SAT.: Saturday, May 27, 1967.
Place des Arts, Montreal for the /
Australian National Ballet. Melbourne Cup was /
commonplace, as ballet evocations of 19th centcentury gaiety /
tend to be—vehement &and flat. But The Display was /
splendid, esp.especially Sidney Nolan’s settings of the rain /
forest: only the conclusion when the lyre-bird overcomes /
the girl (sexual intercourse? death? not clear) seemed /
pretentiously symbolic. Gave a real sense of another /
country &and way of life. Raymonda, re-workedreworked for /
them by Nureyev, was dull as they lacked the vitality /
or magnetism for it.—About on a par with our own /
ballet, as dancers.
 Stfd.Stratford Festival Performances
June 12: MON: Monday, June 12, 1967.
Stfd. Festival, Richard III, Alan Bates /
as RchdRichard. A genial, fattish, plummy villain but not a /
great performance—just the leader of an excellent ensemble. /
Working for naturalism, he lacks flash, whchwhich RchdRichard needs. /
Costumes in art nouveau colours, meant apparently to /
suggest stained glass: a lot of black &and silver. Frances /
Hyland
admirable as Queen Margaret, delighting in /
the curse as an art-formart form. Odd ending; as the fight /
wears on, Richmond is disarmed &and RchdRichard, with /
a sick look, throws him his dagger, wth.with whchwhich /
Richmond kills him. I like a Richard who dies /
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fighting.
 Tuesday, June 13, 1967.
The Government Inspector June 13, much /
changed &and over-fantasticated from what we saw Feb.February 11. /
Grossness much emphasized: Shpekin the Postmaster puts /
his hand in his pocket &and masturbates while reading the officer’s /
letter in Act I: gets a laugh but—? Much brutality: the /
Merchants
are knocked down &and kicked by the Mayor. /
A great deal of spitting &and mopping armpits. It cd.could have /
been funnily gross but the effect was ugly, as though the /
director hated everybody &and wanted to expose, jeer at &and /
punish themthem.
 Wednesday, June 14, 1967.
The Merry WivesThe Merry Wives of Windsor June 14, comparatively /
gentle &and charming. Good ensemble. But why were the /
wives so old – Mrs. Ford ([Franes]sicFrances H.) wthwith grey hair? /
Some unexpected good things—Eric Christmas as a com-/
pletely bald Shallow, gentle &and deeply aware of love; /
a manly, rather aggressive Fenton; Caius black /
&and yellow striped, like a hornet (Jean Gascon) &and /
wonderfully rumbustious but also gallant &and wth.with /
a different hat for each appearance; an odd /
Quickly, wth.with a beard &and a get-up whchwhich was /
Nellie Wallace rather than Elizabethan. – /
A good group: but what an odd mish-mash /
of accents, from Mummerset to deepest Saskat-/
chewan; does nobody notice or care?
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July 29th:Saturday, July 29, 1967.
On our holiday abroad we saw:
Monday, June 19, 1967. Loot: Criterion: June 19 (Joe Orton)
Tuesday, June 20, 1967. Love for Love: Old VicNational Theatre: 20
Thursday, July 6, 1967. Getting Married: Strand: July 6
Monday, July 10, 1967. The Rivals: Haymarket: 10: R. Richardson
Tuesday, July 11, 1967. La Fille du RegimentRégiment: Cov. Gdn.Covent Garden: 11: Joan Sutherland
Thursday, July 13, 1967. Midsummer Night’s DreamA Midsummer Night's Dream: Sadler’s Wells: 13: (Britten)
Saturday, July 15, 1967. The Beggar’s Opera: Sadler’s Wells: 15: (Britten)
Tuesday, July 18, 1967. As You Like It: Vaudeville: 18
Wednesday, July 19, 1967. A Flea in Her Ear: Old Vic: Ntl. Th.National Theatre: 19 ([Feydau]sicFeydeau)
Thursday, July 20, 1967. The Three Sisters: " "Old Vic: " "Ntl. Th.National Theatre 20
Tuesday, July 25, 1967. The Promise: Fortune: 25: (Arbuzov)
Wednesday, July 26, 1967. There’s a Girl in My Soup: 26: Globe (Terence Frisby)
Thursday, July 27, 1967. The Last of Mrs. Cheyney: Phoenix: 27.
dDetailed criticism in Travel Diary.
 Stratford Festival Performances
July 31: MON:Monday, July 31, 1967.
Stfd.Stratford opening of Antony &and Cleopatra. /
Total impression is of a very great play: the political /
side well explicated &and Kenneth Welsh’s excellent /
Octavius brings it well to the fore. But as Antony /
C. Plummer fails to give the magnificence of the /
man, though he is wonderful as the besotted adorer, the /
rake &and the gay companion. He speaks well &and /
looks the part. As Cleopatra, Zoe Caldwell chose /
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to lean on gypsy charm &and caprice, &and spoke badly. Her /
costumes all showed a great deal of her bosom, whchwhich /
is nothing special, looking oddly like a baby’s bottom. /
Wore a red wig whchwhich emphasized her duck-like nose. /
Thinking of the [abent]sicabsent Antony, lay on cushions &and /
writhed, as though trying to bring herself off. Cd.Could not /
rise to greatness &and howled O withered is the garland,/
etc. like a bad Welsh preacher’s hwyl. No majesty, no /
spendour.—Langham had been up to his old trick of /
clarifying: a tawny front became a tawny browa /
woman who cannot go
became a woman who cannot /
conceive
—both foolish changes of meaning.—As Enobarbus, /
Hutt not moving, perhaps because he chose to play it /
in a broad Ontario accent, to show plainness of spirit./
—But in spite of shortcomings the theme of the destruct-/
iveness of passion came through strongly &and it was often /
pathetic if never tragic. One longed to hear the poetry /
given a chance. What a play! In some ways the most /
demanding of the tragedies.
August 5: SAT. :Saturday, August 5, 1967 (matinee).
at the Avon Theatre, James Reaney’s /
Colours in the Dark: imaginative, deft prod.production by Hirsch/
indeed I suspect Hirsch shaped the play, part of whchwhich /
I saw in script &and was dubious of. It is recollections /
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of Childhood, in Reaney’s gentle, rather wishy-washy /
vein. Fletcher Markle called it Under Buttermilk Wood. /
I shared many of these Western Ont.Ontario experiences, but /
my childhood was richer-hued than this, &and had some /
dark tones unknown to Reaney. This was the trouble: /
the range was small &and was wearing very thin in /
Act 2II. Some good poetic passages; much meaningless /
chasing of children about the stage; some true pathos /
as in the scene where the Bible-student gets the gift /
of tongues &and confuses the skeptical scholar – a good /
assertion of the poetic vision of life – but in the main /
it was wishy-washy &and without Hirsch wd.would be embarrassing. /
 
A ~
B Mavor Moore left at the interval, saying to me: /
I’ve enjoyed all of this I can stand, as the fox said /
when it fucked the skunk!
 
 Saturday, August 5, 1967 (evening).
 Evening to CosiCosì fan Tuttetutte: v.very well played, wth.with /
Bernardi conducting; well sung, but not quite /
well enough – Jerold Siena &and Cornelis Opthof as /
Ferrando &and Guglielmo sang competently only, &and /
were dull. The girls – Mary Munroe as [Fiodiligi]sicFiordiligi /
&and Corinne Curry as Dorabella – better, &and looked &and /
acted better; Munroe managed Come scoglio ably. /
RubesRubeš was Don Alfonso &and as always acted wth.with style /
&and address &and looked superb, but it is not a sufficiently /
well-focussedwell- focussed voice – woolly. The production by Jean /
Gascon
was witty &and ingenious but never obtrusively /
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so; he has great style &and knows when enough is enough. /
Amusing use of the chorus as broken-down soldiers &and /
musicians who mock the orchestra. Production very beau-/
tiful: Desmond Heeley in his best manner, lavish but /
not cluttered &and marvellous &and daring contrasts of colour. /
The best I have ever seen this opera, whchwhich is not a favour-/
ite of mine.
August 16: WED: Wednesday, August 16, 1967.
wth.with B. &and R. to the Maple Leaf Gdns.Gardens to /
the Bolshoi Ballet. How dismal to see it in a hockey rink! /
But a splendid eve.evening of bits &and pieces. Second Act of Swan Lake /
wonderfully poetic &and elegant, &and also traditional: none of /
the silly monkeying wth.with the story favoured by Helpmann /
&and Bruhn: it is a fine Gothick tale &and needs no assistance /
from later hands. R. Karelskaya the Odette, wonderfully /
fragile, pathetic &and wing beating. The Prince (Fadeyechev) /
noble &and renunciatory: the perfect porteur. Then a /
group of excerpts, not all good: some libidinous wrigg-/
ling to the Liebestod
was downright funny. But /
Yagudin athletic &and elegant in the [copak]sicgopak from Taras /
Bulba
Taras Bulba
, &and the pas de deux from The CorsairLe Corsaire was stunn-/
ing – extraordinary evocation of chivalry. Concluded /
with the third Act of Prince Igor, with chorus &and /
soloists as well as the ballet. Many balletomanes /
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[LAC-74-7-256]
were impatient of the singing, but I loved it. Also /
the noble acting of I. Petrov as the Khan Kontchak.Konchak. /
Oh, how often B. &and I have seen the PolovetskianPolovtsian /
dancesDances
performed wth.with maimed rites &and Charley horses /
by Boris Volkoff’s pupils! What a refreshment to see /
it now, with full orgiastic splendour! A fine evening.
August 17: THUR: Thursday, August 17, 1967.
wth.with B., M. &and R. to see the Bolshoi /
in Giselle, to whchwhich their finely romantic style is /
admirably suited. Observable that in this &and Swan /
Lake
many of their tempi are markedly slower than /
we are accustomed to. N. Timofeyeva is Giselle; not-/
able finish – what Bertie Scott called going on after /
what was visible (or audible) was ended. The whole /
co.company has this, especially in gesture, but she is dis-/
tinguished even among them. N. Taborko much /
to my taste as Queen of the Wilis. – This co.company feeds /
my concern wthwith romantic theatre for it produces the /
same effect as romantic melodrama. It is absurd /
objectively but deeply satisfying subjectively.
 
A ~
B M. LavrovskiLavrovsky danced Albrecht: simple &and noble.
 
Aug. 28: MON.: Monday, August 28, 1967.
my birthday: wth.with B. &and all the girls /
to the South African revue, Wait a Minim. Impressive /
because of the wide-ranging musical expertise of /
the co.company. Did not much like their boneless, rhythmless /
____________________________
[LAC-74-7-257]
singing of British folk-song, but the African drumming &and /
playing was splendid. Good satirical edge, but never vehem-/
ent &and embarrassingly tendentious. Why can’t Canada /
do this sort of thing? We try too hard &and are not sufficiently /
accomplished – at least in Spring Thaw; this was /
rooted in the sophistication of educated, rather than /
smart, people. Just right for a birthday treat.
Sept. 5: TUES: Tuesday, September 5, 1967.
at Expo: to Place des Arts to see Wiener /
Staatsoper
perform Don Giovanni: the Stewarts our guests: /
seats $20twenty dollars each for 4thfourth row centre. – Musically v.very fine; /
Cesare Siepi sang well &and acted well as the Don; had an /
air of breeding &and freedom whchwhich suggested the aristocrat, /
but also made him a man of superior mind; laughed at /
the women &and CommendatoreIl Commendatore as though they did not see the /
joke of life. Erich Kunz a splendid Leporello; a clown, but /
not a buffoon, &and sang admirably. Gundula Janowitz a /
powerful, vengeful Donna Anna &and sang divinely; one /
feared her. Lisa Della Casa a melting, sad ElviraDonna Elvira; this /
pair made these women live as I have not seen before. /
Wm.William Blankenship a dull Don Ottavio, whchwhich is normal, /
but he was a nonentity &and sang colourlessly, &and looked a /
mutt. Graziella Sciutti &and Herbert Lackner, Zerlina /
&and [Massetto]sicMasetto – proper peasants, not clownish &and sheshe, /
____________________________
[LAC-74-7-258]
a real girl bemused by a gentleman; he, not easily /
bamboozled, &and not too much a cry-baby. But /
it looked dull; lighting bad – perhaps they had not /
all they needed – &and so the sober sets looked painty. /
Bad statue: a disproportionate, immobile cut-out. /
Also the [dénoument]sicdénouement was foozled; Don Giovanni died /
apparently of the blind staggers, against a rippling /
red-lit curtain attempting to suggest flames. Not /
worthy of the rest. But the musical side was so /
good one forgave much.
Sept. 6. WED: Wednesday, September 6, 1967.
to Salle MaissoneuveThéâtre Maisonneuve, Place des Arts, to /
see the Ntl.National Theatre of Belgium in Ruy Blas. A his-/
torical curiosity. They were pretty good but lacked the /
19th cent.century romantic conviction, though retaining some /
of its mannerisms – as talking to the house rather than /
to each other. Jacques [Destop]sicDestoop &and Janine Patrick v.very /
handsome as Ruy Blas &and the Queen, but dull /
personalities. Jean Rovis properly flourishing as Don /
César
but out of key with the others &and a bit old – /
though Don Salluste was the Nestor of the co.company. Mounted /
economically &and rather shabbily: a sense of Little /
Theatre
. But I was glad to see this famous old /
piece, even moderately well done.
____________________________
[LAC-74-7-259]
 Canadian Opera Company Performances
Sept 10: SUN: Sunday, September 10, 1967.
open rehearsal of Candn.Canadian Opera CoCompany's Il /
Trovatore
. They have hired scenery precisely like the /
tuppence coloured pictures, even to the odd dull red of /
the tent-curtains &and the improbable brown of the rocks. /
This emphasizes the melodrama of the piece but, /
alas, the acting is not up to it &and the chorus is /
leaden-footed &and clownish. [Hallower]sicHarrower, the director, /
demonstrates bad acting &and makes them copy it – /
such stampings &and tense arm-wavings! Barbini /
is in a fury: Torel spreads calm through a loud-/
speaker. Fascinating to watch; exhausting to be in /
as Miranda (one of Leonora’s attendants) discovers.
Sept. 15: FRI:Friday, September 15, 1967.
to the first performance of The Luck of /
Ginger Coffey
(O'K.) in 3three acts &and 13thirteen scenes, 8.15–11.45: /
music Raymond Pannell, &and libretto by Ronald Hamble-/
ton
, a good deal changed from Brian Moore’s novel. An /
interesting but unsuccessful eve.evening. Pannell seems not to /
know how to write for voices, &and his most dramatic /
music is in the orchestra; the [singer]sicsingers ejaculate, but /
get no lyric passages. As Ginger, Harry Theyard /
acted remarkably well, &and Mignon Dunn was /
excellent as his wife: the rest were uneasy in /
modern idiom. The revealing thing was that in /
____________________________
[LAC-74-7-260]
so many climactic moments speech, not song, was used. /
But can the whole armamentarium of the great /
dream-world of opera be made to serve such a /
dismal little tale of a dim little man? This is /
what they think of as psychology– not the great /
world of myth, phantasmagoria &and dream grotto, /
that lies at the root of workaday concerns. This /
opera never drew upon that, &and though it depressed /
me &and roused my pity, it left me less, not more.
Sept. 16: SAT.: Saturday, September 16, 1967.
Il Trovatore v.very well sung, &and a great /
refreshment. Leaves me more, not less. Real melodrama, /
the closed, dream worlddream-world of the psyche filled with love, /
self-pity, revenge &and EGOego let loose. Victor Braun /
sang splendidly as Count di Luna: no wonder GBS /
had a tendre for that character
– he knows what /
he wants. Francisco Lazaro pretty good as Manrico, /
but the AT assures me that if he continues to hang /
his head in that way his voice won’t last. Mignon /
Dunn
the undoubted star as Azucena: acts well /
&and simply. Jeannine Crader sang Leonora wth.with cold /
correctitude. The old-fashioned scenery appeals to /
me but many people dislike it
: it is right /
for the piece. At this moment this experience of /
melodrama has special value for me.
____________________________
[LAC-74-7-261]
Sept. 25: MON: Monday, September 25, 1967.
at O’K. wth.with B. &and Elsa: Tales of HoffTales of Hoff-/
mann
. Quite good but somewhat short of magic &and /
romance. How one wishes for a prod.production where the sense /
of H’s romantic doom followed through, instead of /
beginning afresh in each act. Perhaps the fault is /
in the work. Peter Ebert’s direction was good, if not /
exciting: Brian Jackson’s sets, though lavish are a bit /
musical comedy. But what an opera! What a theme! /
It is all the doubling &and quadrupling of rôles, especially /
Lindorf, CoppeliusCoppélius, [Dappertutto]sicDapertutto &and Miracle that gives the /
psychological strength to the piece. Well played &and sung. /
But wanted romantic magic, &and the bittersweet of /
doomed love.
Sept. 30: SAT.: Saturday, September 30, 1967.
to Stfd.Stratford wth.with B. &and Elsa for AntonyAntony and Cleopatra: what /
was good is better – what was bad is worse. Plummer’s /
walk now suggests Kean’s gouty hobble but I think /
he rose to his scenes of disillusion better. But he /
has nothing to play against. Z.C.Zoe Caldwell is more writhing /
&and Ouled Nail than before &and her howl has become /
the slow warble of an air-raid siren. If only /
Langham were more feeling &and less intellect-/
ual! He seeks passion &and simulates it, but does /
not know what it is. Result: basic errors of taste.
____________________________
[LAC-74-7-262]
 Canadian Opera Company Performances
Oct. 7: SAT: Saturday, October 7, 1967.
again to Tales of [Hoffman]sicHoffmann wth.with Rosamond. /
Better lighting &and the acting more intense, esp.especially Hoffman. /
Too long: if Kleinsack, [Nicklause]sicNicklausse’s silly song in /
Act 1.I
, &and the comic servant’s song in Act 3III were /
cut, at least 10ten minutes wd.would be saved &and the /
theme given greater prominence.
Oct. 11: WED.: Wednesday, October 11, 1967.
wth.with B. to O’K. for Louis Riel, commissioned /
by Floyd &and Jean Chalmers: music by Harry Somers &and /
book by Mavor Moore &and Jacques Languirand. – Not easy /
to make a hero of that madman Riel unless one forgets /
history &and does a kind of Masaniello. So the libretto /
was inconclusive &and too wordy: no poetry anywhere. /
Again, much was spoken but as the musical utter-/
ance was wayward &and inexplicable – emphasis on /
trivial words like to &and at – this may have been a /
good thing. V.Very loud, &and long passages unaccompanied. /
Needed cutting: 8.15 – 11.308:15—11:30 too long for what it was. /
In a curtain speech Mavor said: This is the sound /
of Canada.
Perhaps. But the lack of form is /
troublesome.
Oct 12: THURS: Thursday, October 12, 1967.
opera, Madama Butterfly, v.very /
professional after last night. Nagisa Kai good /
as Cio-Cio SanCio-Cio-San, but has a rather small voice /
____________________________
[LAC-74-7-263]
for the part: Nancy Greenwood a fine Suzuki, &and /
Theyard good as B.F. Pinkerton. Production, by Torel, /
conventional, on the good side. Howell Glynne made /
a strong impression as the [Bonzo]sicBonze &and Richard Braun /
was subtly funny as Yamadori. – A pleasure to /
see an opera in whchwhich the plot was clear &and the /
situation strong &and unambiguous, after the muddy /
impact of RielLouis Riel.
Oct. 13: FRI: Friday, October 13, 1967.
to see the Poc.Poculi Lud.Ludique do the Crucifixion /
pageants from the York Mystery Cycle
in West /
Hall
at Univ.University Coll.College. A worthy bore most of the time: /
pace unvaried &and the jog of the verse is deadly. /
Skip Shand an admirable Judas, &and Barry Smith /
a dignified Christ. But too many Bill Deans &and /
Richard Reochs acting their socks off but to no /
purpose: Terry Tweed apparently conceives of the /
BVM as a sufferer from aggravated Female Com-/
plaints: one longed to hand her a glass of Lydia /
E. Pinkham’s Vegetable Compound
. – Some good /
fiends, copied from Bosch, but with pretty female /
legs. Too bad abt.about this as the Poc.Poculi Lud.Ludique has done /
so well, but it looks as if success had made /
them over-confident.
____________________________
[LAC-74-7-264]
Oct. 19: THURS: Thursday, October 19, 1967.
to Royal Alex. wth.with B. for first of the /
APA season, You Can’t Take It With You. The passing /
of 30thirty years has made it as sweetly sentimental as /
Way Down East or The Old Homestead, &and the last-/
minute change of heart in Mr. Kirby is in the /
tradition of the 18th cent.century disinheriting father. Alto-/
gether v.very mild fun, but admirably acted. Sat next /
to Anna Cameron who was reviewing it for radio: she /
was v.very sour &and her distaste came out of her in gusts /
&and spoiled my disposition to be pleased. A v.very limited /
success has soured poor Anna: she hoped for more. /
– Best performance: Claribel Baird as the Grand /
Duchess Olga
: v.very fine presence &and not
 
A ~
A at
 
all unlike the /
Real Thing, wth.with whchwhich we had lunched
. Donald /
Moffat
did much as Martin Vanderhof, the /
Poor Man’s Archetype of the Wise Old Man.
Oct. 21: SAT.: Saturday, October 21, 1967.
to Hart House for the Drama Centre’s /
Caste, directed by Brian Meeson. Not good, but the /
old play has value. They tried to play it straight, /
but lacked technique for the asides &and plain old-/
fashioned sentimental passages. And their clothes, /
though plainly much laboured over, were wrong, &and /
the young men have no notion of dress. Clare /
____________________________
[LAC-74-7-265]
Coulter
as the MarchionessMarquise was best: Mardi O’Donoghue (one of the Pbro.Peterborough family) was worst – vehement &and unwinning. /
Jack Newman not at all bad as Eccles, but lacked menace: /
John Astington good as Gerridge. Tony Ibbotson might /
have been good as [Hawtrey]sicHawtree, but Meeson seemed not /
quite to know what a swell was. Nervous evening, /
for I wanted it to be good
.
Oct. 26: THUR: Thursday, October 26, 1967.
wth.with B. to the Playhouse on Bayview, to /
whchwhich we have not been before , to You’re A Good Man, /
Charlie Brown
: compressed, &and we were out by 10.1510:15, but /
good &and much abt.about children &and abt.about people was gently but /
firmly said. Actors discreet &and did not affect too much of /
childlikeness – no silly voices or cute postures; as children /
take themselves seriously, so did they. Music unremark-/
able, but dialogue excellent – spare &and rather distinguished. /
A delightful eve.evening &and have not laughed so much in the /
theatre in quite a time.
Nov. 2: THURS: Thursday, November 2, 1967.
to RA to see APA in Pirandello’s Right /
You Are!
As always wth.with Pirandello I wonder if I /
am stupid or if it is really as philosophically /
barren as it seems. But well done: Helen Hayes good /
but always small: as wth.with Mrs. Candour, her Signora /
Frola
was essentially a small-town American. /
Donald Moffat admirable as always.
____________________________
[LAC-74-7-266]
Nov. 7. TUES: Tuesday, November 7, 1967.
The Dance of Death at OK. wth.with /
B.: we cd.could not get tickets in London &and so /
were content to sit in Row S, far from the stage – /
too far for such a play. What a splendid tragi-/
comedy, &and what acting! Olivier dominates, but /
Geraldine [McEwen]sicMcEwan &and Robert Lang are v.very fine
/
she a rusty razor, he a suet-puddingsuet pudding of a man. /
The scene where she makes him kiss her shoe, &and /
the later one where Judith makes Allan do the same – /
or allows him to do it – brought gasps. Sir L. O. /
gave a wonderful study of an egotist – someone /
like my brother Fred. As always, his physical detail /
was thrilling: he smoked in character, &and his seizures /
were grotesque but true – no actorly gurgling &and /
jerking, but horrible constriction of one side of the body. /
But this was secondary to a masterly realization of /
a damned soul – a man feeding on his own gall. /
Great acting: this is how Garrick must have been. /
Total effect simple but grand, &and a thousand details /
precisely right. Fine production by Glen Byam Shaw, /
whose enthusiasm for [Stindberg]sicStrindberg I remember from /
1935
. This is a production to treasure in the /
memory, with Dybbuk &and St. DenisSaint-DenisThree Sisters.
____________________________
[LAC-74-7-267]
Nov. 8. WED: Wednesday, November 8, 1967.
to Royal Alex wth.with B.: Pantagleize by /
Michel de Ghelderode. Excellent: swift, visually in-/
teresting &and serious but never portentous. Seemed to me /
to get the spirit of revolution admirably – the lone idealists /
&and the fools, adventurers, sadists &and featherbrains all /
mingled. Pantagleize is a kind of holy fool &and Ellis /
Rabb
gave him sympathetic qualities without playing /
for sentiment. Shocking &and bitter, but at the end I was /
uplifted. Particularly effective music by Bob.Bob James.
Nov. 11: SAT: Saturday, November 11, 1967.
to O’K. to Love for Love whchwhich we saw /
on June 20 but without Olivier
. Our seats were Balcony /
CC 5 &and 6 &and it was rather like watching television, though /
we heard well. What a vulgar beast of a house the O’K /
is! Superb even under these circscircumstances; wonderfully spoken, /
&and a miracle of unobtrusive but subtle timing. Compared /
it wth.with Gielgud’s production of many years ago. G. was /
a splendidly poetic Valentine: John Stride was darker, /
more masculine, rather fat &and Bettertonian, not nearly /
so good as G. in the mad scene. And Malleson was in-/
comparable as Foresight
: otherwise this later production /
was better, because gentler, more humane; the wit /
glowed amid the circumstances of daily life, it /
did not blaze from a contrived setting. It was /
____________________________
[LAC-74-7-268]
a great stroke by Peter Wood to get all the scenes in /
Foresight’s house out-of-doors
in a Hogarthian ambi-/
ance; it gave air to the wit &and prevented closeness. /
So it all seemed gentle &and pleasing: not edgy &and cruel. /
Olivier superb as Tattle: nothing in excess, but a /
wonderful fool, splendid wth.with his legs &and wrists, &and /
essentially a likable, trusting imbecile. But behind /
this apparently small-scale portrait, what size, /
what scope of gesture &and speech! And, in the dance /
at the end, what taking-off into egotistical fantasy, /
within the pattern of the figures! He is said to be /
v.very ill
, but it does not show, except that his face is /
worn. – The music for this production, by Marc.Marc Wilk-/
inson
is v.very engaging &and played onstage by an en-/
semble of oboe, trumpet, ‘cellocello &and percussion (triangle, /
xylophone, tambourine): the songs unfortunately sung /
by a boy with a low, hoarse voice like a tenor recorder; /
not a good effect.
Nov. 14: TUE: Tuesday, November 14, 1967.
to [Royal Alec]sicRoyal Alex wth.with B.: George Kelly’s /
The Show-Off done by APA. Excellent. Full house /
&and audience much engaged. When Amy told her /
mother she loved Aubrey a woman behind us ex-/
claimed loudly Oh, you fool! Finely acted, /
____________________________
[LAC-74-7-269]
Clayton Corzatte broad but not farcical as Aubrey Piper, /
Helen Hayes very detestable as Mrs. Fisher – opinionated, /
unloving, anti-intellectual, maternal in a base sense, /
a child &and husband-eater. Slow to get going but powerful /
&and absorbing from the beginning of the 2ndsecond act. A great /
reception, &and a triumphant vindication of the well-made /
play, for we came away satisfied, pleased &and some-/
what extended.
Nov. 20: MON: Monday, November 20, 1967.
[Macmillan]sicMacMillan Theatre to student per-/
formance of Stravinsky’s Oedipus Rex. Music good, /
but production derivative from Stfd.StratfordOedipus as sun, /
Jocasta as moon, masks &and rags – &and dully acted. /
Oedipus (David Astor) thought it quite enough to /
sing: neither he nor anyone save Peter Milne as /
the Messenger, seemed to have any tragic concept. /
Setting silly; three metallic geometrical shapes hung /
from the flies, finished as boiler plate wthwith studs: a /
whiff of the ‘20s. – A bad device: a Speaker, in /
dinner suit, sat on a high stool at a music stand side /
stage &and told us the story, between episodes, in an /
elaborately casual, colloquial fashion
. But he /
looked vulgar &and spoke vulgarly (Arnold Ruben-/
stein
) &and made a bad performance worse.
____________________________
[LAC-74-7-270]
Nov. 22: WED: Wednesday, November 22, 1967.
at Roy. Alex., Ionesco’s Exit the King by /
APA, a dismal morality abt.about death, but as every /
dignity was stripped from life &and every decency denied /
death it was a low-spirited affair, &and one longed for /
Everyman. Acting only fair. Pamela Payton-Wright /
was v.very false as Juliette, though Corzatte was excellent /
as the guard, &and voice of good sense. But Dick Easton as /
the King, though skilled, is as little likable as ever: /
a cold personality, somewhat reptilian. And Eva Le /
Gallienne
as the Old Queen, jeered &and bullied him into /
his grave in the long duet at the end; a chill, minatory /
personality &and if she is a great actress I have never seen /
it. So many people think a strong personality is great /
acting: not so. Left the theatre annoyed: is this thin, /
sour stuff the significant drama of our time?
Nov. 27. MON: Monday, November 27, 1967.
to Hart Hse.House wth.with B. to the Centre’s /
prod.production of The Devils by John Whiting, directed by /
Peter Ebert. It has been scurvily used by the /
papers, so we were dreading it, but it proved to /
be good, in univ.universal terms – large, direct &and vivid, /
if not subtle. Fine setting by Murray Laufer, /
excellent costumes &and wigs, by Martha Mann. /
Moved quickly &and wth.with certainty. James Brad-/
____________________________
[LAC-74-7-271]
ford
as Grandier more convincing as dévot than as /
seducer: Angela Fusco as Soeur Jeanne looked v.very healthy /
&and had a tiny hump: not Dorothy Tutin’s writhen /
gnome
. But both were quite up to scratch &and the /
support contained some surprisingly good work – /
Ron Mlodzik as the trembling Bishop of Poitiers, &and /
a resolute, intellectual degenerate Prince Henri de /
Condé
, Paul Holland a fine zealot as Fr.Father Barré, /
&and Andrew [Bethel]sicBethell a fragrantly philosophical Sewer-/
man
. We were held, &and sometimes moved. When /
one remembers what used to be gloated over in /
the D.D.F.Dominion Drama Festival this marks a great advance. – But /
how this play lacks for splendour of language to match the /
big theme!
Dec. 3. SUN: Sunday, December 3, 1967.
to the Central Library Theatre wth.with B. &and J. /
to see the New Candn.Canadian Theatre do Fortune, My Foe. How I /
wish some director wd.would sense the rhetorical quality of /
this play &and do it all-out for vivid talk. But this gang /
cut the text, &and mauled what was left. George Hayward /
as Nicholas was thick-tongued, ill-graced &and had not /
mastered his lines: Tony Miller, as Rowlands, also /
paraphrased wildly &and ineptly. But Seifert as /
Szabo, Ron Scott as Chilly, Daphne McCoy as /
____________________________
[LAC-74-7-272]
Vanessa, Barbara Andrew as Ursula, &and Mc-/
Mullan
as Buckety, had admirable quality: the /
trouble was that Rein AndréAndre had directed wth.with his /
usual feeble hand, so that there was no pace at /
all, &and the piece was without shape or climax. /
It was a penitence to watch it, but I went back /
afterward &and shook hands &and chatted: no sense being /
churlish &and it wasn’t the actors’ fault but the /
director’s: he is the usual tousle-headed pseudo-/
artist – Estonian, I believe. – Puppet-show v.very /
inept. How can they neglect anything so vital? /
– I wonder what might have happened if I had /
had the professional help, the costly production &and /
the public excitement Reaney got for Colours in the Dark
?