Beggars can't be singers

THERE are no great singers in The Beggars Opera at the Aldwych Theatre. The Royal Shakespeare Company, in presenting it, apparently sees it more as a play requiring fine actors who can sing a little rather than wonderful singers who can act a bit. This arrangement certainly gives the piece spontaneity.
It was a good idea, too, to put the orchestra of six on stage with the rest, dressing them up as beggars who just happen to be able to play the flute or blow the trumpet whenever one of their down-trodden acquaintances feels like bursting into song.
The action takes place in the hold of a ship which is about to transport a collection of vagabonds to the West Indies. Effective crowd scenes here; an appealing Dorothy Tutin; and a fine wharfside background set (Sean Kenny's) which turns into a "floating" ship in the
last scene. T.McQ.
THE Mermaid theatre's revival of Brecht's The Life of Galileo makes for a night of profound theatre. Joss Ackland, as the scientist who knew the world was round, bestrides the open stage like a Colossus. The cardinals and crowds are just a background to a performance of genius. In these days of "progressive" versus "conservative" in the Church, a night with Brecht is an interesting flashback into Church history.
D.M.
THE Rose Bruford Training A College of Speech and Drama, in their 13th annual London season at the Scala Theatre. have mustered an international cast of over 100 for The Green Pastures, a negro impression of the Old Testament. from the Creation to the Crucifixion.
The singing and dancing was especially good, and there were some very effective scene changes. There were also some amusing incidents in the Lord's private office in Heaven, and a stirring scene in Pharaoh's Throne Room
One cannot help but feel, however, that there was something lacking in Trevor Rhone's performance as "The Lord". Perhaps we are too conservative in our thoughts of God and Heaven, but one felt that more reverence could have been shown in a play of this kind.