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Gerald James (Kassal) is excellent as a bearded and snappy member of the Countess’ circles; as is the superb John Philips (Count Peter Zichy ), and André Van Gyseghem (Belmann), who brought power and passion to his portrayal of the Countesses sympathetic husband; with Joseph O’Connor as Colonel Janik, Melvyn Hayes (Willi) and Daphne Slater (Gelda), adding colour to a monochrome recording.The production as a whole, then, was both striking and effective.May I please offer my sincere congratulations on your really excellent performance in ‘The Dark is Light Enough’ on Sunday evening.I saw this play twice in the theatre – once at Brighton before it came into town, and on the first night at the Aldwych – and while I love and admire Dame Edith more than any other actress, and thought hers an incomparable performance, I was so baffled on both occasions by the rest of the play that I simply couldn’t enjoy it as much as I wanted to.For that instant, it seems very real; completely fleshed, and is working out its unique purpose before our eyes, and the moment means that Fry has started to see his characters in terms of their secrets rather than just their words., it’s conceivable to believe that these individuals do still have reserves, places of rest, behind their vivid and enthusiastic word-play, and this finding of depth signifies, we presume, an incredible progress for the author.These encouraging things apart, it’s still necessary to say that some of ‘The Dark is Light Enough’ is too intangible by far: if the characters fumble with great honesty, they often don’t get their hands on anything that is very final, or particularly secure. and who, immediately turns himself into the sort of boorish and thankless rogue who’d taunt even those who’ve saved him. Richard Gettner wavers between longing for love and utterly destroying it, yet PETER thrived in doing much more than just reciting the play, line-by-line, and allowing the contrasting values fall where they may.I am not at all clear in my mind what exactly it was that Fry was driving at with his very wordy script.
The quantity of her elegance and ability might be witnessed by the fact that her final scenes in which, dying, she expresses her compassion to make a threadbare universe bearable, are her best.
The course of the action has varied consequences – few of them pleasant, ending in the peaceful death of the Countess and a Sidney Carton-esque change of heart from Gettner that comes about for the simple reason that there is nothing else to be done.
The author was once told by a wise old colleague that characters are never all black or white, but should be drawn in grey.
For the play itself poet, Christopher Fry, had devised three not-so- pleasing acts, which were full of twists and turns, but containing little stimulation.
At one point in the drama, a character remarks, Ever a lover of costume drama, the BBC saw to it that everybody was richly bedecked and PETER, as the leading man, looked particularly handsome in uniform.