The New Theatre-i Some Changes Wanted (Press, 27 January 1970)

Yvette Bromley, a producer from Christchurch, reflects on her recent world theatre tour in a piece published on 27 January 1970. Her journey spanned the United States, Britain, and Europe, where she sought new plays and innovative ideas for production in New Zealand. A central concern for Bromley was how much permissiveness would be allowed on the amateur stage in her home country. During her tour, she noted that the relaxation of censorship benefitted certain productions, as plays like "Boys In The Band," "Edward II," "The Bandwaggon," and "Troilus and Cressida" thrived under greater freedom of expression. However, she found that other acclaimed works such as "Conduct Unbecoming," "Arturo Ui," and "Winter's Tale" did not require such permissive standards to be appreciated by audiences. This led her to conclude that while tact and common sense would limit the performance of some plays, there remained a wealth of contemporary works suitable for production without pushing the boundaries too far. Bromley underscored the need for practical reforms beyond artistic considerations. She proposed heating theatre venues in winter, improving audience comfort by allowing patrons to enjoy performances without heavy winter clothing. Additionally, she suggested providing coffee and sandwiches at shows, scheduling late matinees, and shifting performance times to accommodate audiences more effectively. She believed these steps could help increase attendance, which has been a challenge in Christchurch. An observation Bromley made since her previous tour in 1964 was the overall enhancement in acting quality, shifting the focus from star names to the play itself and the acting prowess displayed. She highlighted the importance of pace, wit, and topicality within performances. She noted a significant trend where multiple plays, such as "The Bandwaggon" that tackled themes like the fertility pill, captured the interest of audiences through their humorous and bold presentations. Bromley was particularly moved by "The Boys In The Band," which exhibited a compelling blend of comedy and tragedy. She also mentioned "Enemy," reflecting on its frank exploration of relationships among men during wartime. However, she expressed disappointment over "Hair," a production that, while widely successful, failed to resonate with her due to its perceived excess in nudity. Although she chose not to engage with the production "Oh! Calcutta!" due to its portrayal of explicit content, she acknowledged the necessity for theatre to embrace modern and honest artistic expressions. In summary, Bromley calls for a shift in Christchurch's theatre landscape towards more openness, encouraging the public to engage with contemporary works and embrace the theatre as a means to explore new ideas and perspectives.

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