Isionth in the Country." At the St. James's.
THE THEATRE
WHAT a civilised play! And to think that it is a play that ordinarily no theatrical management would touch, while even in war-time, with a public keyed up to finer issues, it was necessary for C.E.M.A. to help to get it produced! The production is good, and I do not agree with those who think it too stylised. After all, Turgenev's period, the middle of the last century; was one of luxury and good manners, and the fine setting and dresses demand a certain elegance. It was a mistake, however, to introduce music at the end of the first act as an accompaniment to Natalia's dramatic realisation that, for the first time in her life, she was in love. This was like under- lining in red ink the tenderest passage in a love-letter. But one must not be surprised at such lapses of taste, and when one considers what vulgar and trashy stuff actors are commonly engaged upon in the West End theatres, it is surprising that they can rise at all to the level of such a true and fine piece of work as Turgenev's comedy. I liked Valerie Taylor's Natalia ; it was a delicate and moving performance that never flagged, and if more might possibly have been made of certain poignant moments, she remained on the right side of under- rather than over-emphasis. Michael Redgrave's Rakitin was admirably poised, and Tom Gill gave a most convincing and attractive performance as the young tutor. The minor parts were well cast, but Jacqueline Clarke (Katia) must learn to laugh effectively. A very sympathetic performance was Isolde Denham's Vera, while it goes almost without saying that Ronald Squire did all that was necessary with the Doctor. It was satisfactory to find the theatre full from stalls to gallery with a warmly appreciative audience for a play that is as superior to those of most popular dramatists as Tolstoy's novels are to those of contemporary best-
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