The Boston Repertory Association has paid off another handsome dividend to the citizenry in "Richard III." Though produced under the name of the Association, it is actually the baby of Richard Whorf and Richard Barr, who hope to present this version on Broadway in the near future. As a Repertory offering it rates an unhesitating recommendation, but it is not a very good play, and the Messrs. Whorf and Barr could do well to devote their talents elsewhere in the Bard's works.

I had neither read nor seen "Richard III" prior to Monday night and consequently my approach to this interpretation may have benefited from lack of prejudice as much as it suffered from lack of tutoring. The management has supplied each ticket-holder with a simplified genelogical chart of the Houses of Lancaster and York, along with a short history of England in Richard's time, but I found the play still hopelessly confusing to follow. This would be of no importance if the play contained enough compensating poetry, but it is a procession of blood and rhetoric, both a little too thick.

Richard Whorf, who plays Richard, gives the impression of an actor with intelligence and talent, and an apparently urgent need to relieve the kidneys. He whirrs through his lines at a speed that soon passes all understanding. Though each word is clearly pronounced, even telegraphed, the audience soon falls exhausted by the wayside while Mr. Whorf races on. The listener does not feel cheated as much as incompetent on his own part. In a few moments of ironic humor, Mr. Whorf is very good.

Mr. Whorf has also done some or all of the directing and here his fast tempo has been put to better use. Most of the action takes place in the Tower of London and a single set and part of the orchestra is used. The scenes flow rapidly one into the other by use of lights, rather than curtains and there is seldom a moment, without visual activity. When Richard is soliloquizing on his villainy, there is a red light, presumably from Hell, shining upon him. During the battle scene, which is done all in silhouette and with imaginary weapons, an off-stage drum beats. All of these things are very effective and tastefully done in keeping with the character of the play.

Aside from Mr. Whorf, the cast includes other notables such as Philip Bourneuf, Frances Reid, Polly Rowles, and Grace Coppin. The performances of Mr. Bourneuf and Miss Coppin seem to stand up best in the vacuum that follows Mr. Whorf's whirlwind.

Three members of the HTW are also in the cast, which brings to mind a comparison between this production and those of the Theater Workshop. Only spasmodically during the evening did "Richard III" show the imagination and artistry that ran throughout the last four HTW shows. Most of all, the actors at the Copley do not have much "feel" for what little poetry is given them to work with, a fault they share with the majority of Broadway actors, however.

In recommending "Richard III" it is primarily because it is rarely presented, because the acting and staging of this production is generally superior, and because no matter how you look at it, the Copley Players are offering the best bargain in the professional theater hereabouts.