The Cicala Players

The Cicala Players in: The Gleam by Warren Chetham Strode Staged: 19-20 November 1948

at The Twentieth Century Theatre Westbourne Grove London

It would seem that even though this is their fourth production, the Cicala Players are not averse to tackling a play of a difficult or controversial manner. When the play is staged, it is little more than a year since Britain’s Government ushered in its new National Health Service, effectively making all manner of medical, dental and eye treatment free at the point of use to millions of people. Overnight, the Doctors who used to charging privately for consultations and treatments, were given budgets based on a particular number of patients. Those people for whom healthcare was an expensive luxury, were freed from the burden of choosing treatment over food or other household expenditure. “The Gleam”, by Warren Chetham Strode concerns itself with looking at the advantages and disadvantages of this new service, but as Martins Bank Magazine points out below, the NHS was already a reality that everyone was getting used to dealing with in their everyday lives. In what might be considered to be still topical today, the play examines the bitterness of doctors opposed to the running of the new system, policital meddling by the opposition, and even someone we can all relate to being on the wrong end of at some time in our lives: an “indiscreet, disinterested receptionist”!

For their fourth production, which was given at the Twentieth Century Theatre, Westbourne Grove, on November 19th and 20th, the choice of the Society was “ The Gleam,” a propaganda play about the new National Health Service, the author being Warren Chetham Strode. It was a difficult play and the earlier part of it had dated somewhat, the argument dealing with the pros and cons of something which, for better or worse, is now an accomplished fact. But the latter part of the play, dealing with the way in which the service will work out in practice, is still topical enough to hold the interest.

Paul Slatter, Maureen Grant, Stella Brown, Craig Batey, John Evans, Allan Whitmey and Norma Bird

The plot rather suggested that it might have been conceived in the Conservative Central Office and that to please the Lord Chamberlain and the present Administration it had to end up by the doctors who had criticised the new scheme so bitterly agreeing to work it for the good of the people. Paul Slatter (Assistant Accountant, Lombard Street Office), who appeared under the stage name of Paul Myrton, looked the part of the doctor and acted it supremely well, so much so that I caught myself thinking more than once that he had missed his vocation and that to be engaged in a clerical occupation was indeed a wicked waste of talent. Gerald Morgan (Lombard Street Office), who as Tim Cartwright played the part of the student doctor, was making his first appearance on the stage and made a very promising beginning, being particularly good on his lines and cues. Norma Bird as the clerk at the Health Centre, caused much amusement by her portrayal of the indiscreet, disinterested receptionist. (How did she cultivate that walk, which was a piece of acting in itself?) I must confess that her portrayal made me shudder, which is a tribute to her acting. It could so easily be true, but maybe I was unduly sensitive, having so recently come from a spell of hospital treatment. I could cheerfully have smacked her face on more than one occasion. She also played the part of Dora Holt.

Norma Bird, Paul Slatter, Betty Evans and Maureen Grant

Stella Brown, Craig Batey, Gerald Morgan and Allan Whitmey

Maureen Grant (Cocks Biddulph Branch) as Monica Cartwright, gave us one of the best bits of acting of the evening, particularly as the schoolgirl. She, too, was appearing for the first time. The show put up by Craig Batey (London Foreign) as Fred Holt, the supremely self-sufficient progressive Town Councillor, was first-rate. We all hated him, which should please him immensely. How he did it, he alone knows, for he was ill for some time prior to the show and was far from well at both performances. Allan Whitmey and Stella Brown (Lombard Street Office) as Mr. and Mrs. Cartwright, gave nicely balanced performances which were especially convincing in their later stages when the play had thoroughly warmed up. Those who had not seen Joan Cowell before might have taken her portrayal of Hilda, servant to the Cartwrights, for granted. It was really a little gem. Some amateur actors are cast in the “on and off” parts of servants to get them used to the stage or because that is the limit of their capabilities, but Joan is a principal of some merit, and to confine capability and personality within the limits of a small part is not easy. The temptation to overdo it is a strong one, but she added to her laurels quite definitely. John Odell as the successful colonial farmer, Geoffrey Webb, looked the part and played it well. He certainly made me feel that life in Kenya must be pretty good and I noticed that others, too, were made not a little restless by the picture he painted. Betty Evans (District Office Relief Staff) another debutante, characterised Mrs. Logan, a working-class type, and her first appearance was most promising. John Evans (London Foreign Branch) took the part of Joe Field, the machine foreman. He gave the part the dignity it required and the light touch of humour and pathos was just right. There were one or two first night difficulties, including a few prompts, and the play (on the first night at any rate) took rather a long time to warm up, but Josephine Ellor, the producer, can definitely add it to the list of her successes, and it was very encouraging to see how whole-heartedly it was supported by the management and staff of the London District.