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 The
Cicala Players in: Children to Bless You by G. Sheila Donisthorpe
Staged:
21–22 November at The Twentieth Century Theatre Westbourne Grove London
 “A family gathering and a jolly good show” is how Martins
Bank Magazine sums up the second performance of the Cicala Players to be
played in front of an audience at a London theatre. This time the play is
staged for TWO nights,
and some of the top-brass of Martins Bank, including Bank Director Colonel
Buxton, are there to see it. No pressure there, then! Stella Brown, who was praised highly for
her performance in the role of Mrs Parsons in the players’ production of
“Tony Draws a Horse” earlier in 1947, is once again given rave reviews for
her acting, which is described by Martins Bank magazine’s correspondent as
“head and shoulders above anyone else”. The whole group is praised in general
for its enthusiasm and for having the courage to tackle this particular play,
which is known for making demands of its performers, that might seem beyond
the skills of a small amateur group. The director, Josephine Ellor is also
singled out for praise, in particular the skilful way in which she brought
the production together. One of the performers was also lucky (and talented)
enough to receive an ovation every time he appeared on the stage. Praise
indeed, so let’s settle down for the Cicala Players’ performance of “Children
to Bless You”…
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Isabel Simblett, Joan Cowell, Ruth Bradshaw, Stella Brown, Olwen
Collier, Edward Hatton, Ernest Yates, Helena Currie, Beryl Farebrother.
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 “Children to
Bless You” (G. Sheila Donisthorpe) was the play chosen for autumn
production at the Twentieth Century Theatre, Westbourne Grove, on November
21st and 22nd by the Cicala Players. The society was faced with
difficulties of production which, although providing scope for the exercise
of histrionic talent, might easily have proved excessive for a company of comparatively
inexperienced players. These special problems were of a casting nature, and
the ages of the members of the Society did not provide that wide range
which would have permitted of the choice of people for the parts of the
mother and the youngest child, who did, in fact, approximate to the ages
indicated. This meant that what should have been straight parts became
character parts, with all the attendant difficulties for amateurs.
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In
the early scenes of the play it looked as though the difficulties were too
great. There was a tendency to exaggeration, both in speech and facial
expression, but once Stella Brown made her appearance and the play began to
revolve around her and her doings, everything seemed to fall into shape. It
must be said that as an actress Stella was head and shoulders above anyone
else, and her performance as Stella Harringway, the oft-married aunt, was
very well rendered. Isabel Simblett’s portrayal of Audrey and Paul
Slatter’s interpretation of Ronnie Trent were quite good, though it seemed
as if there had been a tendency to skip the intimate bits at rehearsals ;
this type of scene always presents a difficulty to amateurs. Isabel was
good, very good at times, and as a whole her performance was most
commendable, but the love scenes were a bit wooden. Paul Slatter's
portrayal of the piano tuner’s sudden passion for the glamorous aunt—a most
difficult part to portray—did not entirely convince, though it had merit.
It was a bit too bold. Ruth Bradshaw deserved top marks for her portrayal
of the part of Clare Lawrence, the mother. She was extremely good,
particularly in the later scenes when she had got into the part. The parts of
Guy and Jennifer, taken by Edward Hatton and Helen Currie, were quietly
rendered ; the weakness of Guy needed greater emphasis, and Jennifer was
rather too “nice”.
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Isabel Simblett and Ruth Bradshaw.
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Joan Cowell, Ernest Yates, and Isabel Simblett.
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A
bit more of the butterfly would not have come amiss. Ernest Yates as Martin
obviously got his part across the footlights, and he received an ovation on
his every appearance which spoke for itself. Joan Cowell as Tonie also made
a hit with the audience, but she must learn not to overdo facial
expression, and also to appear strident (when the part demands it) without
actually being so. While on this subject, it should be noted that the noisy
family with the constant ringing of the telephone, quarrelling and arguing
and general rushing about, was a bit of a strain for the audience. For
amateurs it is a hard technique to learn, and neither at the beginning nor
at the end of the play was it well done. Beryl Farebrother as Pearson the
servant, had to take her pace from the others. When that pace was correct,
as in her dialogue with Stella Harringway, she was very good. When the pace
was too fast, her acting seemed forced and the stage too cramped for her.
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Within
the limits of their parts, Mary Howse as Miss Drake, the beauty specialist,
and Olwen Collier as Louise were entirely satisfactory. They both showed
promise of great things to come. To sum up, the play was difficult and the
cast as a whole a little on the inexperienced side. They really made a very
good job of it, and under the skilful direction of Josephine Ellor they
will go from strength to strength and their experience will soon match
their enthusiasm. It was nice to see Colonel Buxton, Mr. Voyce, Mr.
Holland-Martin and nearly all the leading lights of the London District
giving the support of their presence. It was a real family gathering and a
jolly good show.
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