No Golden Conch for critic
About the article
This is a digitised version of an article from The Cayman Compass's print archive. Occasionally, the digitisation process introduces transcription errors, or other problems.
See the article in its original context from January 1978.
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As an Editor I was lucky enough to go frequently to the theatre, and often write about the first night of a play, or interview an actor or actress in in. In this capacity I saw "SOUTH PACIFIC" first in New York, then on the first night in London and again seven years ago played by a professional touring company in Brighton Theatre.
I feel, therefore, that I need not apologise for this protest over the carping review of the production here, written by a critic who failed to sign his name. An unforgiveable omission. A writer of any standing abides by the rule that the more unpleasant the things he has to say, the more he must have the courage to put his name to his words.
BETTER THAN PROFESSIONALS I have seen professional touring companies that would be hard put to it to excel this production of "SOUTH PACIFIC" by the Cayman Drama Society and the Cayman Singers. It compares favourably with the best touring companies I have seen. And why should the choice of play be condemned because the action took place thirty years ago?
On that premise revivals of Gilbert & Sullivan, Ncel Coward, Terence Rattigan and, indeed, The Merchant of Venice dragged in by the writer with another extraordinary statement about basic Shakespeare) would never be seen again. And the unjustified attack on the casting. Does the writer expect to find Mary Martin at an office desk, and Pinza behind a bank counter in Cayman?
With one or two small exceptions, the casting is surprisingly good, selected from people who make no claim to be professionals. To refer again to Shakespeare; he would, I am sure, have been delighted to have such "good human material" to project his plays.
The Cayman audience is a tough egg to crack! If it doesn't approve it doesn't applaud which it was certainly wholeheartedly doing the night I went to 'South Pacific.'
CRITIC OUT OF TOUCH This anonymous critic must be very out of touch with what goes on in the theatre today. In all modern theatres, velvet stage curtains have been dispensed with long ago. Scenery is moved around in full view of the audience. As an example: the long-running play "State of Revolution" by Robert Bolt playing at the London National Theatre has many scenery changes from a villa in Capri, to the Russian Revolution in Moscow! All done in full view of the audience.
I would have thought one could only give a full marks for the total professionalism with which the changes of scenery were made by the cast of 'SOUTH PACIFIC' I saw no evidence that the audience were anything but interested: certainly not in the least disturbed.
Our unknown critic seems unaware that on this small Island, with no television and no theatre as such, we are dependant on this small, talented group of dedicated people for live entertainment.
From the smallest beginnings these people (most of whom have full-time jobs at which they work during the day) have nurtured the drama and singing societies to near professional heights for the entertainment of people living here, and in order to gather enough money to build a proper theatre for Cayman. Meantime miracles are worked each production transforming the Town Hall.
Criticism must always be welcome good or bad. It is what anyone in the public eye must expect. However, it is disappointing that the first time the Cayman Compass allocates a large space to a new feature called Theatre Review, it is almost entirely devoted to a torrent of unconstructive, denigrating criticism, with the merest sprinkling of faint praise.
