Inferior Work Finds Useful Function (Press, 2 June 1980)

The University of Canterbury Drama Society is presenting the South Island premiere of "State of the Play," Roger Hall's third stage play from 1978, at the Ngaio Marsh Theatre. The production runs from 31 May to 7 June 1980. Directed by Elizabeth Moody, the performance includes the controversial "transvestite scene" towards the end, making it noteworthy in the context of local theatre. Though Hall's play has received less acclaim compared to his other works and was largely ignored by professional theatres, the production serves as an engaging opportunity for student actors. The narrative unfolds around six individuals attending a playwriting course at a rural school, where an erstwhile famous playwright instructs them on the principles of crafting a "well-made play." The adult students ultimately collaborate to create a poorly structured play that fails to resonate deeply due to its clichéd situations and stereotypical characters. Critics have found moments of truth in the finale, though these are easily overlooked amid the banalities of the script. The production leans heavily on Hall's acclaimed one-liners, with moments designed to elicit laughter from the audience. However, this reliance on formulaic humour becomes apparent and might not be well-received by everyone. Critics noted that the structure of the play suffers from repetition, as two out of three scenes conclude with similar patterns, evoking comparisons to Hall's earlier work, "Glide Time." The self-referential nature of a lecture on dramaturgy magnifies these weaknesses. Despite its flaws, many audience members found the performance enjoyable and comedic. The credit for these successes lies with the cast and director, who adeptly trimmed some problematic aspects of the play. Though there were occasional tendencies towards overacting, particularly in pursuit of effective projection, these are largely forgivable, as the actors are still honing their craft. Craig Hood stands out as the playwright, embodying a sense of tired cynicism, while John Caldwell impressively captures the essence of the teacher in the group. In supporting roles, Liz Grant and Jennifer Compton excel in their significant scenes, but the more vibrant performances of Paul Wimsett as the dentist and Paul Bushnell as the transvestite dominate the stage. The portrayal of the transvestite was entrenched in controversy, yet the execution was such that it prompted neither outrage nor scandal. Overall, the production is recognised as a commendable interpretation of a play that, while flawed, shares comedic characteristics with Hall's previous works. As Hall noted, "the rest … is silence."

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