For the play itself poet, Christopher Fry, had devised three not-so- pleasing acts, which were full of twists and turns, but containing little stimulation.
At one point in the drama, a character remarks, Ever a lover of costume drama, the BBC saw to it that everybody was richly bedecked and PETER, as the leading man, looked particularly handsome in uniform.
May I please offer my sincere congratulations on your really excellent performance in ‘The Dark is Light Enough’ on Sunday evening.
Her actions in sheltering the dishonourable Gettner, who had formally married her daughter, and preserving him from capture by the Hungarian Army, rather than her second (and more worthy) son-in-law – are no further recommendation.
It was often white-knuckle, yet occasionally unruly to the point of recklessness.
As Dame Edith, playing the Austrian Countess, chooses to risk her own life and endanger her loved ones to perform an entirely uncompromising act of mercy, she speaks with a quiet self-confidence: Elsewhere in this histrionic verse in praise of human kindness there are further indications of the author’s beginning assignation with reality; his initial affection for aspect in addition to deftness.
At the bottom of the heap is the shrewd and cunning rascal, Gettner who, it turns out, has no integrity at all.
Edith Evans and the cast she headed made little mistake in this story of a highly civilised Austrian countess involved, in spite of herself, in the Revolution.