Le Retour de L'Enfant Prodigue

Under the aegis of the French Club, Andre Gide's Le Retour de L'Enfant Prodigue is now making its first appearance on an American stage in a very small and very stylish way. The problem of adapting Gide's story was not great, since it consists of nothing more than a series of dialogues, but the handling of the whole affair by director Edward Morris is exceptionally witty. The result--though scarcely more than a half hour long--is nice theater.

The key to the piece's success is the manner in which Morris has unified the various aspects of the production to create a unique tone. The delivery and action of all the members of the small cast are highly stylized, as are the set, the costumes, and the makeup. Action is continuous, with extremely simple set changes made in view of the audience, and the actors remain on stage throughout.

Roger Klein, in the lead, manages to portray the understanding of the returned prodigal gently and sympathetically. Pierre Leval and Alan Goodrich, as the father and the elder brother, also succeed in creating strong characters of brief parts. Tom Harrington burned youthfully as the younger brother, and only Olga de Leuchtenberg faltered in her role as the mother.

Flute music by Eleanor Clark, makeup by Richard Smithies, and startling set and lighting by Edward Stankiewicz and Howard Andrews all combine delicately and to fine effect. The costuming, too, is attractive and appropriate.

Gide's introduction to the stage is indeed small, but its elegance is far beyond the usual. Even those whose French is moderate at best will find this bright play well rewards a walk across the campus.