PLAYGOER

The State Department's policy of keeping enemy rulers in control as puppets has never been a clear-cut one, and has been, since its establishment, vigorously attacked and defended.

Setting the precedent for this policy was the American retention of Admiral Jean Darlan as chief of French Africa. Analyzing this policy in Africa, Irwin Shaw has written "The Assassin," denouncing not only the collaboration with Darlan but the sidestepping of recognition of the underground forces.

Shaw does not present an unbiased picture; he has completely ignored the State Department's version of its policy. The official stand defended the use of existing authorities, retaining incumbent leaders rather than the expenditure of American lives to establish a more politically satisfactory regime.

Beyond a forceful presentation of his political views, Shaw has written a first-rate play. Not only is it an excellent, if colored, version of the intrigue behind the assassination of Darlan, but Shaw has used the best features of melodrama without its stagnant sentimentality and typed characterization.

Perhaps the most distinctive feature of "The Assassin" is a lively portrayal of the title role by Frank Sundstrom. In a difficult part, Sundstrom, formerly Sweden's top-ranking actor, presents with charm and conviction the conflicting sentiments and ideologies of a quixotic young monarchist.

Sundstrom is surrounded by a well chosen supporting cast which acts with unobtrusive competence rather than with individual histrionics. Perhaps most authoritative are the diametrically opposite forces of Clay Clement, instigator of the coup de main, and Lesley Woods, embittered widow, who tries to turn de Mauny (Sundstrom) from his plan.

In spite of the excellence of both cast and play; in spite of Martin Gabel's direction and Boris Aronson's ingenious settings, "The Assassin" may not receive the acclaim it deserves on a musicomedy-packed Broadway. fps