REVIEW: CIVIC PLAYERS of WELLINGTON "LOVE BEGINS AT FIFTY" by Raymond Hopkins AT Wellington Arts Association, Friday 15th June A clever plot involving supposedly 'happy couple', the Debanks, sets up a protracted chain of misunderstandings and implausible devices in this hilarious play performed by Wellington's Civic Players.

Paul Smith, (a fresh face from London) features as Clive Debanks, ambitious in mid-life, for a first- ever fling in the whirlpool of infidelity before he hits fifty. Paul courageously carries the burden of the plot, while his personality appeals naturally to audience sympathy. He is perfectly cast.

His harridan wife, Anita, played by far-too-attractive Penny Bradnum, convincingly provides her husband with just cause to seek greener pastures, through her nagging, superior tone, but Anita has entered the Gazette's 'Happiest Couple Competition' - without telling her husband.

Des Atkinson as Clive's best mate, helps and hinders progress very congenially and Cynthia Jones as Anita's insensitive confidante, adds lots of humour with many of the funniest lines in the play.

Dawn Morton is endearing as daughter Tracy, despite whingeing about her failing marriage. She rightly wins our admiration when she adopts her mother's example and starts wearing the trousers.

Complications are deftly added into the script when Clive arranges interviews with three 'Lonely Hearts' advertisers, accidentally inviting the ladies to arrive at ten minute intervals instead of an hour apart. Des helps out for once.

Here again, director Sue Kerry triumphs by ideal casting. Emma Vicarage celebrates her joyful return to Civic Players as dishy young Annabel; too young by half, for Clive. Susan Swan exults as the eccentric Mavis, hippie turned multi-level-marketing guru. But how beautifully Helen Tidmarsh glides onto the stage as Emily, melting hearts with an air of vulnerable innocence, gilding her performance with sensitivity. Of course Clive falls in love with her.

Meanwhile, 'The Happy Couple Competition' is in progress, which explains why Mark Bond must explode onto the scene to photograph Clive and Emily in amorous embraces. If the pace has been a mite too slow upto here, Mark's energy speeds things up nicely.

The complexities from here to the final curtain demonstrate the author's mastery of farce, even 'though his skills could yet improve on the tight-rope of plausibility. As good a night's entertainment as ever from Civic Players. ARTHUR CUMMINS