REPERTORY THEATRES
LETTERS TO THE EDITOR
Snt,—Recently I have been visiting some of the repertory companies in and near London; this letter is a strong protest against the deplorable Christmas charade activities which are being given under the name of professional performances. I fully appreaate the limitation of time with which a weekly repertory company has to contend, also the present difficulties of casting, but this does not excuse the conceit and ignorance which permit public performances devoid of all imagination, intel- ligence and technical ability. My main criticism (because I believe it to be the main cause) is of the " production." At one theatre I was unable to find any sign whatever of intelligent direction; characterisa- tion was superficial or non-existent, movement was without reason and had no relation to character, circumstance, mood or to the composition and architecture of the play—voice, intonation, hands, &c., were used because natural to the players in life, not for one moment as a means of expression in the theatre : as for rhythm and climax, apparently these words were unheard of. Some of the players showed signs of potential talent, but a life-time under such " production " does not constitute experience, nor can it lead to development of imaginative understanding and the technical means to express. Even if every member of the cast had possessed exceptional talent and knowledge, under such. " production " the play could not have become a complete and artistic composition.
After this particularly devastating and depressing experience it was with some misgiving that I went to the Intimate Theatre at Palmers Green. May I state at this point that I do not know anyone in or connected with this company, I do not hold shares, nor have I any personal axe to grind? The Intimate Theatre is also a weekly reper- tory and there is no reason to suppose that their difficulties are less than those of similar organisations—indeed, some effects of these diffi- culties were apparent—btu it is quite obvious that they have a producer who knows his job. This was a professional dramatic performance, with form, movement and sincerity ; a Unified Whole ; a . play written for the theatre, directed as a stage composition, with contrast and truth of character and action expressed in a stage key.
I am grateful to the Intimate players for an interesting evening, but even more for their opportune proof that my indignation and criticism of the other companies was not that of a hypercritical idealist but a justifiable indictment. My reason for writing this letter is that I believe this lack of standard in many of•our theatres to be a very real evil. Of all the Arts, the Art of the Theatre has the most general appeal, and therefore tremendous opportunities. The highest possible standard should be our goal; everybody connected with the stage—producer, actor, critic, &c.—must 'have absolute integrity, judgement and know- ledge of their work. " Quality " and not " salary " justifies the term " professional." I believe this to be of vital importance to the theatre,
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