Yes, My Darling Daughter

April 3rd, 1941 — April 4th, 1941


The Princess Theatre


Brisbane Repertory Theatre


Barbara Sisley


Mark Reed


Audrey Court
Joan Goadby
Howard Steyning-Brown
Edward Ditton
Peter Buchanan
Beryl Peake
Marie Dickenson

Telegraph Review by  D.L.Waraker

Yes, My Darling Daughter is the cleverly suggestive title of the play by Mark Reed which the Repertory Society chose for their opening piece.

The plot is slight, being merely the decision of a modern miss to conduct her love affair in her own unconventional way, an ambition she achieves by the exercise of a little polite blackmail over her mother whose past has "had its unhallowed moments" as she is forced to admit. The whole story makes good entertainment, after a slow start; and to those who would murmur "not Repertory" it might be replied that a play which gives us laughter is a play to be welcomed to-day.

The first act was notable for a most delightful characterisation by Beryl Peake; one of the best individual efforts seen on the amateur stage for some time. In subsequent acts she broadened considerably her comedy technique, losing subtlety of gesture and intonation; but perhaps this is what the author intended as the plot thickened. Audrey Court always assumes well the poise of maturity, in spite of her youth, and her competence and assurance stiffened the cast helpfully. ,

Joan Goadby was suitably naive end very appealing as the young woman, whose pre-matrimonial adventure causes such a family upheaval. Miss Goadby should try to keep her eyes from straying into the stalls when she is not speaking.

Peter Buchanan's handling of his fruity lines was rich in the flavour of true comedy, but he was handicapped by an astonishing,        make-up. It was some time before the audience recovered sufficiently from its effect to listen to his dialogue. Edward Ditton, obviously inexperienced, gamely and intelligently tackled a none-too-easy role; Howard Steyning-Brown is improving steadily with each appearance, and Marie Dickenson, like all well-trained maids, was softly spoken and always there, when wanted.

Miss Barbara Sisley, who produced the play, had secured excellent sets and given her cast an obvious understanding of the humours of the piece.

We suggest that the production be made even more pleasurable to-night by the following: The curtain, timed to rise at 7.45, might do so before three minutes past eight, and a flippant jest about the tomb of Britain's Unknown Warrior should surely be eliminated from the dialogue. To say that such a line is a little jarring is to make a considerable under-statement.

Reviewer: D.L.Waraker

The Telegraph, April 4 1941.

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