Simon Trussler, ‘Religion as Substitute’, Oct 22, 1965, Vol 29, Issue 31, p. 15.

Mostly negative review of the Actor’s Studio version of Blues for Mister Charlie and The Amen Corner, (which was performed at the Saville Theatre at the same time as Blues for Mister Charlie. The production of The Amen Corner was financed by Brian Epstein of The Beatles).

‘Audiences in this country had an unfortunate introduction to the plays of James Baldwin. The Actor’s Studio production of Blues for Mister Charlie was so violently misconceived that Baldwin’s real strengths were difficult to discern: deliberately stereotyped characters were played naturalistically, and deliberately trite sentiments were hammered home with passionate conviction. Baldwin’s real insight into the ears and aspirations of his compatriots in the deep south was lost in a smart and over-psychologised production, and even the order of the scenes was arbitrarily and disconcertingly changed. Not that Mister Charlie can ever be a great play, but it could a convincing and more moving one. The Amen Corner, now at the Saville, shared its weaknesses: an idealistic of youth — and a consequent romantic assumption that the immature are closer to reality – a tendency to emotional over-indulgence in dialogue and effects, and an over simplified attitude to religion which sometimes seems more relevant to the dramatists own background than the action on stage. For all this, the play grips — even if it does so as documentary rather than as drama.’

[This review also mentions Albert Finney appearing in the play Armstrong’s Last Goodnight, in his memories of being in London with Baldwin, Trevelyan mentions going to see a play with Albert Finney in it with Baldwin and Doris Lessing].