Indianapolis Times, Indianapolis, Marion County, 2 June 1951 — Page 6

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a a SE ERE

Be Sav eon?

“THEATRE IN THE ROUND." By Margo Jones. New York, Rine-

5 - By HENRY BUTLER MARGO JONES, the moving spirit of Theater '51 in

hart, $3.

Dallas, Tex., has on theater in the round.

has written a valuable and stimulating book |

She reminds us of enough drama history to prove that arena-style production is neither a novelty nor a mere fad. And she imparts to her readers a good share of her own

‘conviction that theater in the round may very likely be the salvation of the American

stage. : He ron alt a nual 8 BY . ties, Almost coincidentally with the publication of Miss Jones book, Brooks Atkinson wrote in the New York Times a lament over the closing of "The Green Pastures,” “King Lear” and “Romeo and Juliet” through lack Si Popular support. In each iInstance, production costs were so high, with consequent high ticket prices, that the potential public soon dwindled.

ay Tow theatergoers will pay top prices for serious items. FSouth Pacific” and “Call Me Madam” will outrun more profound offerings. Proposes a Remedy Miss Jones, who cites discouraging figures about the current status of Broadway, proposes a remedy for the apparent gradual starvation of good theater. She ‘wants to see, and seems confident she will see, 20 resident professional theaters set up in 20 American cities of 100,000 or more, at present lacking good theater. She says it can be done with arena staging, which can make use of a variety of available housing, and which needs the comparatively modest budget. of about $40,000 to start a season, . Her scheme requires rigid adherence to four rules: “1. Complete professionalization. 2. Production of only new plays and classics, with an emphasis on the new play. 3. A permanent resident company for the entire seagon. 4. A minimum of three weeks

of rehearsal time for every play.”

Must Be Full-Time

The rules are important. Miss

. ‘Jones thinks amateur theater, for all its good intentions, simply|at

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cannot equal professional, If a repertory company iz to be first rate, the members must be able to devote all of their time to the venture. Evening and part-time work by volunteers in commnity playhouses cannot get firstrate results, She wants new plays because) she sees little future in the community theater's “permanent fare of modern light comedies.” Hand-me-downs from recent Broadway seasons are, she thinks, no adequate substitute for new, creative work. She insists on a permanent res-| ident company for the entire season, since only such a company can attain its maximum poten tial. The “visiting star” system, besides being very costly, denies others in the company adequate opportunity to grow and learn. And she stipulates three weeks’ minimum rehearsal time — four weeks have been found still more successful In the Dallas project -- 80 that each production.can be nearly perfect, with all kinks ironed out.

‘Answer , . . Great Theater’ Her emphasis on classics: Shakespeare, Moliere, Ibsen, Chekhov, and so on, may at first seem heavy to theatergoers who want mere diversion. But I think she is correct in her belief that audiences crave something more substantial than “the redoing of mediocre successes of the commercial theater.” Life is not all frivolity, and tragic, profound drama helps us to understand and accept the tragedy and depth of life itself, Though she likes to see theater flourishing, she writes, “I want to state very firmly that I believe! bad theater is, worse than no theater at all.” Later in the book, she adds, “I would rather see 20 good theaters in America by: 1960 than a thousand mediocre groups attempting to survive by doing

Graduates

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[things in a second-best manner, The answer, as 1 have sald, is great theater.” Besides the advantage of economy, theater in the round has the virtue of intimacy and close psychological participation by the spectators. It seems 4dlso to stimulate and refine the actors’ performancé, though some actors at first find it trying. Miss Jones cites the experience of George Mitchell, formerly .a member of ‘the Dallas company,

article he wrote: “Standing under the glare of the overhead lights on that first unforgettable entrance, I felt like a naked unanesthetized victim about to undergo a public major operation. I said my opening lines automatically and remembered to move over and sit on the divan in the dead center of the stage. My hands felt enormous, swollen, awkward ‘beyond belief. frozen smile began to twitch. When another actor leaned over me, I stared intently at him; tryling to blot out the mass of eager, bulbous faces right behind him. {When he circled around me, my eyes-~followed him, and those bleary faces §Wam by in the reversé direction,” On ‘Leaf “ Bough’ Local are be interested in her comments on “Leaf and Bough,” produced in the second Dallas meason; '47-'48, and written by Indianapolis-born Joseph Though it subsequently the play in

failed on Broadway, seems to have done well Dallas. Miss Jones adds, “It was such a complicated production that it led a play agent who visited us at the time to say that, if theater in the round could put on ‘Leaf and Bough,’ it had no limitations whatsoever.”

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Artist Solves

Love Issue

"OR'CALL IT WINTER." A novel. By Donald Stevens. New York, Harper, $2.75. HERE I8 which to balance the week's literary fare: “Or Call It Winter,” by Donald Stevens. This is the story of John Langdon, a young artist with an income sufficient only to meet modest needs. The place is the West Indies. Until she had landed him, John’s wife had pretended that his work was to her of the high‘est importance. But now she wishes him to return home and

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