SIR,—Bamber Gascoigne could with advantage realise that (a) his opinion
of Sir Laurence Olivier's work at Chichester enjoys a certain isolation and (b) those of us who have been visiting the Old Vic a good deal longer than he repudiate the idea that a pall of gloom and apathy enveloped the place. Inferior judgments can blight a play and create the 'mood' he discusses. Here less than justice is done to the successful reign of Michael Benthall in the Waterloo Road.
There was the magnificence of Zeffirelli's Romeo and Juliet; but what about King Henry VIII, Mary Stuart, Ghosts, Macbeth, Julius Ctisar, St. Joan and so on? What London theatre can boast such a string of rich and satisfying productions in the last five years? On considerably smaller budgets than Michael Elliot was allotted, if rumour is correct.
Perhaps the significance of the Peer Gym produc- tion lies in the sets, costumes and forestage designed by Richard Negri, all particularly appropriate to this Norwegian tale, but the next plays in the season are avidly awaited to know whether the rest of Elliot's team will be on the side of gimmick or art. Too much back-projection, for example, could become as tedious as tawdry settings. Rather should we look to the timeless beauty of, say, Fry's Curtmantle where there is an exciting blend of sound, shape and movement.
And let us have no fear that Sir Laurence with his National Theatre project is not wholly aware of all such dynamic possibilities.
LISA HUGHES
10 Devonshire Place, W1 THE NAGA REVOLT
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