'Rampa'

four acts

(Max Mohr)

Wednesday 7 March 1928 2LO London 9.35-11.0

pr Cecil Lewis

trans and adapted by Cecil Lewis

Kettling - Herbert Lugg
Rampa - Wilfred Walter
Porto - Harold Scott
Lala - Jessie Tandy
Dr. Barbazin - Frank Petley
Norma - Hardy Cherry
Giddy - Clair Harris
Dr Peers - George Howe

The idea of an affinity, or even a fusion of identity, between mankind and the brute creation is old enough; literature is full of it, from the Frog-Princesses of fairy tales to the modern fantasies of 'A Man at the Zoo' and 'Lady into Fox'. In 'Rampa' the idea is differently and more satirically, worked out.

It is the story of a man who lives amongst the animals until he learns their language and their ways, and comes to like them better than the insincere, sophisticated human beings to whose midst he is restored. As Capek's 'Insect Play' satirized the weakness of humanity by showing them reproduced in the insect world, so 'Rampa' shows human frailty and suplicity thrown into relief against the simplicity of the animal world.

From the cold austerity of the Arctic wastes to the tinsel and glitter of the travelling show; thence to the crazy efficiency of the private asylum, and so back to the quayside from which ships leave for the frozen North - civilisation emerges not too well from the contrast, as seen through the eyes of Rampa, the 'beast-man'.

There is plenty to rouse the imagination in this strange play by Max Moyr, the circus-rider in Cairo, the tramp, astrologer, doctor and Alpine guide, who is one of the most original writers in Europe today.

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'Improvisation in June'

Europe is Dead! Long Live the European!

(Max Mohr)

Tuesday 24 July 1928 Daventry 5GB 7.35-9
Wednesday 25 July 1928 London and Daventry 9.35-11

The English version by Susan Behn and Cecil Lewis

Princess Orloff - Mabel Terry Lewis
Tompkininov, a Keeper - Harcourt Williams
Adam Zappé, Improvisator - Bruce Winston
Olga, his Daughter - [no actor listed]
Samuel Miller, an American Millionaire - George Ide
Ian Mill, his Son - John Gielgud
Dr. Varley, Physician to Sam mill - A. Scott Gatty
Elkin, Secretary to Sam mill - Frederick Burtwell
Major-domo - Ernest Haines
Servants, Criminal Officers

The action takes place at the Castle Orloff on a lake near Zalzburg, in Austria. The entrance-hall of the castle is beautiful, distinguished. Folding doors lead to the garden; a long window overlooks the park. It is an evening in June …

Listeners who have heard 'Rampa' would immediately identify without being informed the author of 'Improvisations in June'.

Here is the same bitter contempt for contemporary human values, the same fantastic characterization, the same careful creation of an atmosphere in which the real seems to be the vision of a lunatic, and the ideal a reasonable commonplace.

Zappé - the Improvisator - engaged with his beautiful daughter to cure the heir to a financial throne of his delusion that there must be something money cannot buy - is employed by the dramatist to hold the mirror up to an age of motley industrialism.

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'Caravan'

comedy in four acts

(Max Mohr)

Monday 26 November 1928 London and Daventry 9.35-11

English version by Susan Behn and Cecil Lewis

Cecil Lewis presents a Max Mohr play

Kaleve (dancer) - Eric Portman
Leontine (wife) - Kathleen Lacey
Garilan (merchant) - Frank Petley
Sandmann (agent) - Reginald Purdell
Waiter - Richard Goulden
A Nigger - Harvey Braban
Lift Boy - Percival Parkin
Caravan Guide - Abraham Sofaer
First Policeman - Eugene leahy
Second Policeman - Bligh Cheseman

Scenes: North Africa, in a Harbour Town near the desert, and in the desert itself

Time: the present

Once more we are endebted to Mr. Cecil Lewis for an opportunity of renewing our acquaintance with Max Mohr and his harlquinade.

His characters are really eternal aspects of humanity whom the dramatist arranges and re-arranges, but achieves always the same result - a portrait of mankind as seen by Max Mohr. We always like the picture, but wonder, when the play is over, whether the likeness is a good one.

The background this time is neither the Arctic waste nor an Austrain castle, but the Sahara desert. The 'Improvisator' is now a kind of dubious dragoman.

All the other characters begin by being discontented with the world of reality because their mistake it for the real thing, but by the time that the dust of the desert has got into their eyes, they see more clearly and are eager to start life afresh.

At the end of the play the Arab guide perhaps expresses our feelings for us - 'Fantasia'!

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