JULIUS KNIGHT SEASON.

Auckland Star, Volume XXXVIII, Issue 150, 25 June 1907, Page 3

JULIUS KNIGHT SEASON.

"ROBIN HOOD."

Naturally, Mr Julius Knight received an enthusiastic welcome from the usual full house. la the first place he is Mr Julius Knight, and, in the second, he follows on this occasion on a long and trying theatrical drought. On the second and most melancholy point there is no need to dwell; on the first there is not much more, for the admirer of Marcus Superbws and the admirer of Monsieur Beaucaire, differing as they do in the very essentials of critical outlook, are nowase distinct in the sincerity of their respect. Bnt to "Robin Hood" one went with dire forebodings. That we were to see a pretty play— a beautiful stage manager's play, there was no reason to doubt. But -what of the atmosphere, the reality, even the possibilities of a, piece taking for its action a time so strangely ■unfamiliar as that of the twelfth centuryAn age in which people talked a language no single word of which, as spoken, would be recognisable by any living- man other than a student of philology, an age in which we are not even sure that ouv liobin Hood was wont to wash his face, an age so alien from our own that there is hardly a point of analogy that does not suggest a far more striking difference; to set a play in such a time was a rash enough experiment to make the boldest shrink. But the authors, in one respect as wise as Shakespeare, hit upon the commendable device of taking the main points in their story, and, wish a few necessarj exceptions, placing them in an Elizabethan setting. Tbe language of any play of the early or middle English periods must necessarily be not earlier than Elizabethan to be understood; but the authors of "Robin Hood" have also made their types of character, their humour, their Arcadian atmosphere essentially in the spirit of the early modern pastoral. And, going by resuJts, the choice was •wise.

Really, it is a delicious play of its sort —with, great big blemishes of dialogue, but with finely radiant flig-hts to balance them. A true pastoral, the soul of Sher"wood Forest seems to seize us as it seized Robin: and tn-e men and women in it make as sure if unofficial a fairyland as Oberon and Titania made of theirs. Perhaps it is the skilfulness with which this effect is produced that makes ons care so little whether Lion Heart would have said this or Robin Hood have done that. One watches the Arcadian love of Robin for his high-placed fairy queen (in language of earth the Lady Marian); one gloats over his " elf-like tricks to steal her from that wicked Caliban Hugo de Longerfee; one rejoices to see Lion Heart come into his fairy kingdom. Those who must have rum-punch when there's nectar a-quaffing will be glad to hear that the story is positively exciting, and that Robin Hood's escapes from the clutches of Prince John, and the dire peril of his lady-love at the hands of the Ogre Hugo, form as captivating a story as could easily be found. Besides which, these incidents are ingeniously worked out—including the use of disguises—in a far more convincing way ! than is usually the case when this peril- ! ous dramatic trick ij resorted to. Those important staccatos called situations are also frequently admirable in this play. The meeting of Robin Hood and bis future lady-love in the forest, the outwitting of John at Xotting-ham Castle, and the meeting of Lion Heart and his faithful followers are seme of tbe best of these. But it is rather in its atmosphere and its pieturcsqueness than in its excellencies of detail that "Robin Hood"* makes its chief claim* Friar Tuck and Little John bare been such a consolation to the drooping spirits of Britons in looking batk, thax to live their life for a little as a present fact is assuredly very good. Then there is the perfect little portrait of the Abbot of Jourvaulx— daintiest and lightest of miniatures — and there are the songs of Allan A "Dale, fresh with the air of the forest.

Mr Julius Knight was thoroughly happy in his interpretation of Robin Hood. As the humorous outlaw, a-s the chivalrous knight protecting his lady, as the child of nature worshipping hrooks. and trees, and forest breezes, he was fascinating, lovable, and always picturesque. Miss Elbert-Orton's Lady Marian is admirably and originally conceived, and in the scenes with Hugo this actress showed a distinct power of tragic intensity. On the whole, however, she was best in the lighter scenes, such as at the first meeting -with Robin Hood. Miss Dorothy Sidney helped her well by her clever playing of the maid Adela. The jmoi, excepting Mr Knight, are conspicuous rath-er for their general high level of acting than for any brilliant playing on the part of individuals. But the wicked Hugo (Mr R. Julian) was clear cut and deiica-te, the Prince John of Mr H. J. Bentley was striking if a little immoderate, and Mr Harry Plummer was a stately Coeur de Lion. The light comedy was in the hands of Mr Hubert Willis, a commendably restrained Friar Tuck, and Mr Rege Rede, a wonderfully real Abbot of Jourvaulx. As Allan A'Dale Mr A. Andrews sang finely a series of early English songs, the 'effect of "Oh, Richard! Oh My King,' , in relation to the dramatic interest, being especially impressive. The scenery was extraordinarily fine, and the sunrise effect in Act IV. was beautiful in the extreme; the appointments generally were excellent; the incidental music was given with judgment and without-excess, and everything made for a thoroughly delightful production.