Ordinary Lesbian Drama (Press, 1 March 1976)

On 1 March 1976, the review of "The Killing of Sister George," a play by Frank Marcus directed by Doug Clarke, was published. The production was staged at the Riccarton Theatre, running from February 28 to March 6, with performances scheduled from 8 to 10:10 p.m. The play is notable for its exploration of lesbian relationships during a time when such themes were relatively unaccepted, reflecting the social changes starting to emerge in theatre. The review suggests that while the play was a significant sensation in the 1960s, it has since settled into a category of ordinary naturalism, focusing on the challenges of character relationships within a confined setting. The reviewer notes that the character of Sister George, who embodies a certain stereotype, is symbolic and remains a part of societal fabric, despite the play’s dramatic premise. The cast's performance received mixed assessments, with initial criticism aimed at their stage presence and vocal strength in the first act. However, as the performance progressed, their confidence visibly improved, leading to more engaging portrayals. Christine Lookamp, playing Alice, started to effectively inhabit her role, while Peggy Millar, as Sister George, became more vibrant. Eleanor Clark’s role as Mrs Croft and Alison Jacobs’ performance as a clairvoyant character were also highlighted as entertaining and authoritative. The review acknowledges the potential for the production to be a successful evening of drama if the cast maintains their improved performance levels throughout the season. Additionally, it raises concerns about the challenges of staging naturalistic works due to the limited availability of skilled actors in New Zealand and discusses the economic pressures of television productions compared to stage performances. The conclusion encourages audiences to support this play while also prompting directors to reconsider how large casts can be effectively managed in naturalistic settings, stating that a creative approach might be necessary to engage the audience continuously. Overall, the review has a reflective tone, considering the significance of the play within its time while recognising the evolution of audience expectations and theatrical norms. It hints at the enduring relevance of characters like Sister George, suggesting that although the explicit portrayal may shift, the essence of these themes continues to resonate in contemporary society.

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