Martins Bank Players (North Eastern)

MARTINS BANK PLAYERS (NORTH EASTERN)

Martins Bank Players (North-Eastern) in The Heiress by Ruth and Augustus Goetz

Staged: November 1955 at the Little Theatre Gateshead

Based on the novel “Washington Square”, “The Heiress” gives the North Eastern Players the chance to stage a period drama – a penniless adventurer, a rich young heiress, and a question of wrongful inheritance – all are portrayed with relish by the Players who also get to dress in Victorian costume. It is typical of the Players to take on a piece that will stretch their abilities – not only in acting, but also costume, set design and production. Stalwart performer Stephen Futers shines through as the Victorian father, and is praised for the clarity of his speaking voice.

Once more, the talents of Margaret Crump are evident in her portrayal of a character who personality changes completely during the course of the play. Sylvia King’s role as the maid is also mentioned in glowing terms in the review below. This is another production by the North Eastern Players that is directed by Nora Wilkie who has a depth of experience and knowledge in the staging and production of the group’s varied offerings down the years. She is also a good actor in her own right. As usual, we join Martins Bank Magazine for their appraisal of “The Heiress”, which is published in their Winter 1955 edition. But what will they make of it? Usually, the magazine does not hold back if there is something to criticise, but it appears on this occasion that “The Heiress” might just be an unqualified success!

FOR their Autumn 1955 show the North Eastern Players chose “The Heiress”, a play by Ruth and Augustus Goetz, based on the novel Washington Square. It is a period play on the theme of the young penniless adventurer who succeeds in turning the head of the rich young heiress despite the opposition of her father and jilts her when he believes her father has disinherited her and the prospect of a fortune has vanished. From first to last the play was an outstanding triumph for Margaret Crump, who played the daughter, and for Stephen Futers, as the father. Margaret has given us several fine portrayals in past productions but none finer than this. Stephen's excellent speaking voice and perfect make-up were valuable assets in enabling him to submerge his personal identity in the part of the Victorian father so that at no time were we ever reminded that this was, after all, only a play.

Barnsley Pettler Pat Allen Dorothy Turnbull Michael Blaylock

Joan Robson Stephen Futers and Margaret Crump

The rise of the personality of Margaret from the crushed and lifeless daughter of the dominant yet not domineering doctor to the outraged and commanding personality which overpowers the declining character of the dying man was an awesome thing to watch, and this complete reversal of positions was handled by both of them superbly. It is doubtful whether professionals would have done it better. The importunate suitor was played by Michael Blaylock, who managed to convey his patent insincerity to his audience very convincingly, though we felt that a little more ardour was called for to account for the complete manner in which the heiress was swept off her feet. Quite one of the best performances was that of Sylvia King as Maria, the maid.

It made one sigh for the day when such people existed, for she portrayed the part beautifully—a little lady, nicely spoken, with just the right amount of deference, poise and sympathy. Full marks. The part of the romantic aunt was portrayed by Pat Allen with the right amount of enthusiasm, tact, sympathy and drama. A difficult part well presented. The part of the other sister of the doctor was played by Dorothy Turnbull and that of his niece by Joan Robson. Both were background or “local colour” parts, adequately portrayed and providing the essential contrast to the stark drama. Barnsley Pettier took the part of the niece's fiancé, the man who introduced the villain of the piece into the family circle.

Michael Blaylock Margaret Crump and Stephen Futers

Sylvia King

It was neatly and competently played. Kathleen Horn portrayed the sister of the villain and although the part is not a long one it is vital in that upon its successful portrayal depends whether the audience is kept in doubt as to the genuineness or otherwise of the villain. She kept us in doubt and her performance undoubtedly made the performance of Michael Blaylock easier, though they do not appear on the stage together. Nora Wilkie is as good a producer as she is an actress, and that is saying something. Bob Wilkie did his job as Stage Manager with his usual competence and the whole production, despite the introduction of many new performers, was well up to the high standard of the Players.

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