Drama in Reply

Sir,—I am delighted that someone is interested enough in the Drama Club to comment on its choice of play for Major Production—at a well publicised reading and coffee evening recently there was an appreciative, sensitive and discerning audience of 10. I was forced to conclude that interest in the club was somewhat lacking. However, many students may wish to ask the same questions raised by Mr Wattle and this letter may serve to clarify the matter.

The Seagull was chosen by the committee in consultation with the producer after protracted deliberation. Among the playwrights considered were Ibsen, Shrindberg, O'Neill, Shaw, Simone de Beauvair, Arden, Fry, Isherwood/Auden, Wesker, Baxter, Pinter, Tennesse Williams, O'Casey, Inge, Camus, Anouilh, Galsworthy, Wilde, Lorca, Santre, Harpek, Musaphia and Penandello. Most of these plays were rejected on the grounds of unsuitable casts or dubious literary merit—both factors of extreme importance to a University Drama Club.

Our choice was restricted by the desire to do a modern play, however, with Taste of Honey, Roots and Five Finger Exercise already being presented by other city drama groups our committee felt that the newest dramatists were well represented.

Various plays of Eugene O'Neill had been suggsted to the committee. who after considering then decided that the casts were too small and the acting too demanding for a University group. Mourning Becomes Electra had been before Mr Watties' suggestion, considered at some lengths and seemed unsuitable. In the words of a recent criticism of the play it "emerges as good theatre rather than great drama" and "acting on this scale is the devil's own work."

The club does not have three competent Stage Managers and the work of controlling rehearsal space times etc. for three different outside producers and costs simultaneously would reach almost Herculean proportions. Also at recent auditions only 13 men were present. The same problems apply to the Wesker trilogy apart from the fact that Wellington Teachers' Training College are producing the second play of the trilogy later this year.

The Seagull is considered to have literary merit independent of its association with Shanislavsky being both great drama and good theatre. The cast, smaller than we would have preferred, nevertheless has six excellent women's parts (rare in modern drama) and will allow the 13 people taking part worthwhile acting opportunities. In contrast to this, last year's major production involved a large, unwieldy cast but had only two major parts for women.

Regretfully I must also point out to Mr Wattie that a large number of interested persons does not imply a large number of capable persons.

Finally, despite the merits of O'Neill and Wesker, not all producers wish to produce their plays. We have been fortunate enought to obtain the help of a very able and experienced producer whose suggestions were based on first-hand knowledge of student theatre. The Seagull met the various requirements of literary merit, suitable cast, period and producer's preference.—Yours etc., Nicolette Mckenzie, President V.U.W. Drama Club.