... and painful story, told in a straightforward style that usually allows events, or as much of them as thj write: reveals, to speak for themselves. There are recollections of air-raids and armies marching, of privation, peril, and fear. We have a strong ...

... the Moonlight Sonata endlessly. The action of the play takes place on his yacht on his fiftieth birthday, though everyone speaks of him as being old and his death as imminent. He has in vited his two former wives to his party, apparently in order to have ...

... fence, to fight, and most difficult of all, to stand still and move only for effect. We are also most particular how they speak. There is a small stage staff and we pay about seven people. What has been done at the Maddermarket, concluded Mr. Monck. ...

... does allow wider and richer expression lhan would contemporary prose, while keeping well clear of archaism. It is easy to speak, and though the hearer gets little idea of its shape on the page, his misses nothing of its sense The autho> has wisely avoided ...

... PITLOCHRY THEATRE SCHEME GIFT BY JOHN STEWART Speaking at an Edinburgh Press conference in connection with the formation of the Pitlochry Festival Society, Ltd., John Stewart, director of Pitlochry Festival Theatre, said: It is now over a year and a ...

... to a dis tinguished part. Miss Withers natur ally feels that her views about it are not necessarily authoritative. But. speaking for myself, I find that it has to be played almost entirely on the emotions, and that technique alone is of little use. ...

... however, is warmly contested by Harry Malcolm, manager for Bertram Montague's Cinderella at the King's, Hammersmith, who, speaking from his 24 years' experi ence as a touring manager, insists that many changes are needed in the practical running of the ...

... Venvcll is an entertaining angel, and there should be a word, too, for Fred Skuce. who, in the fuise of the master himself, speaks haw's own explanation of the play. Excellent ddcor by E. Burrows- Smith makes the best use of this small stage. ...

... rapturous maidens in Patience. Some re sounding and well-judged declama tion comes from members of the all- male chorus, who speak individually and not in unison, and Tom Criddle makes a fine thing of the lovely last act song tribute to Colonus. Oedipus ...

... Hawtrey does not altogether realise the fanaticism, the magnetic power and the fundamental weakness of Davidson though he speaks with sincerity, his lack of flexibility and limited facial expression robs the tensest moments of their full power. Marjory ...

... he is learned in his subject, he is never pedantic and always readable, for he has the gift of writing as though he were speaking to sortfeonc. His way of drifting from one play to another, not always chronologically, adds to hts charm. He has wise words ...

... not even tapped. The j savage frenzy of the third act is no more horrifying than a game of musical chairs. Terence O'Regan speaks his verse nobly as the wandering poet, but Daphne Hope is far too earth- bound for her mystic rdle. ...