ASCHE-BRAYTON CO.

Dominion, Volume 6, Issue 1579, 24 October 1912, Page 6

ASCHE-BRAYTON CO.

. « "OTHELLO." "Othello," a tragedy by William Shakespeare. Cash— Tho Duke of Venice George Skillan lirabantio Caleb Porter Lodovico Koruian Harlo Othello Oscar Aechc Cassio H, ]!. liiguett lago Herbert Rrimwood lioderigo Alfred llrktow Montono It. Lan Penny Dcsderoona Lily llrayton Emilia Frances Wcthorall Bianca Marie Laurie "Othello" holds its place against timo among tho most frequently-played of Shakespeare's tragedies, not that "it is so nobly tragic as, for', instance, "Hamlet," "King Lear," or even "Macbeth," yet leading actors who affect the big Shakespearean roles have ever hankered to play the part so generally referred to as "the. noblo Jloor." This may be on account of the flood of sympathy audiences cannot but feel and express for the sadly misused "Othello," which part almost comes within the range of tho hero,of romance, for is not the M.oor the straight-speaking, fearless, upright -man of honour in as great a degreo as lago is the, reverse? fho one character wears Ms 'heart and all things else upon his sleeve, whilst tho venomous wiliness of bis "ancient" assigns quite another use for that part of his wearing apparel—thereby tho dramatist lias secured tho contrast essential in the maintenance of dramatic interest. Both are great parts—one, calling for a romantic bearing, polished elocution, and restrained declamatory force, whilst the other calls upon tho finer intellectual forces—cunning, subtlety, hypocrisy, and delusiveness. The actor most quoted as tho finest, exponent of Othello is Edmund Kcan, of whose performance a contemporary record says that not only was it his best character, but also that it was "tho highest effort of genius on the stage." On one occasion tho great Kemblo (Kcau's rival) was asked had ho seen Kean as Othclio, and received the reply—"l did not see Mr. Kean, but Othello," and, when ho died, Fanny Kcmble explained: "Kean has gone, and with him aro gone Othello, Shylock, and Richard!" It was during a performance of "Othello" at the Covcnt Garden Theatre that Kean collapsed and died (in 1833). Other fine Othellos were Edwin Booth, Hermann Vczin (the benutous), G. V. Brooke (who was seen in the colonics), and Salvini, tho great Italian tragedian (now nearly, 80 years,,of age, and living in retirement), whose ..magnetic acting in the role caused a furore in London. In Wellington we havoseen Waller Bcntley and Geo. C. Miln, and away back from twenty-five to forty years ago Sheridan, Herr Bandmann, and (perhaps), W. J. Holloway, and Harkius (an American actor) essayed the Moor. It is a man's play. Desdemona ennnot for a moment be classed in the same category as Juliet, Lady Macbeth, or even Portia. Her part is passive rather than active, being an innocent puppet in tho coil of an intrigue immediately affecting her, of which she knows nought. It is not a role that calls for mighty histrionics in an tictress; beyond a pleasing personality and a prety talent as a special pleader (both for Cassio, and, fiually, in her extremity, for herself), the part, is one which no well-favoured actress of experience and discernment could well go wrong.in. .

i Last evening's' presentation ■ l>y the ' Asche-Brayton • Compaiiy.-was interesting, i more, perhaps, because of the play unci j the manner in which it was produced j than for any particularly outstanding j merit in the pert'orinance7 To bo .quite e candid, Mr. Ascho, very wisely decided a to leave tho tragedy "until the last nights of this season. lii tire performances ho s has given tip till last' evening ho showed ~ himself to be bountifully possessed as a very virile, robust actor, with a servieej. able vein of comedy, a splendid physique, _ and, a big, low-pitched voice, which tends, .'.' to hardness and stridency in strenuous dramatic passages. It is not given to an c actor to,,excel in every phase of his in- '.' t'ricatc art, and that jlic is ail'excellent <i actor his Hajj in "Kismet," Petruchio q in "The Taming of the Shrew," and his Falstaff in "The Merry 'war ample, testimony, but to genuinely sensea tragic role such as "Othello other qualities are needed, the chief of which must first and always be emotional force. .Mr. Aschc dominates and pleases by his magnificent stature and the diapason of his voice, but he never once thrills, nor does he twang those sensitive chords of emotion which some of the old tragedians i. made respond to almost any they wished. Mr. -Asche was at his best in the scene before the senate, where his modest still- " ness and dignity promised so well for " what was to follow. But from the time c whou he surprises the midnight broil s brewed by lago, ho hardly struck the ' commanding note. The manhood and in--3 nato dignity of the Moor slipped from the 1 actor as though he had doffed a garment, S and for the rest thcro was little reflec- " tivo acting, little shading—and a good deal of ranting. The new Othello piles ' horror on horror in the final murder r scene. After throttling Dcsdomona " (the- usual instruction is to "smother") ' with his great sinewy jewel-hung fingers, ' ho with great-calmness deliberately draws r the blade and stabs her. He is equally I emphatic about the business in h,is own case, for when stabbing himself, he clears I a space and hits the haft of the dogger ? several sounding thwacks to drive the 1 blado well in. Mr. Asche looked Othello ' to the life—and is a very satisfying como--1 dian. Miss Lily Brnyton wore golden hair " and several beautiful frocks, and coaxed s and wept most tenderly and sympathe- ' tically. Mr. Herbert Grimwood's lago s was a remarkably clever performance on ? original lines. That the character should 1 be subtle, vindictive,' and designing is ? written into the part that the actor of 1 last evening played it with such vim and 1 relish, and so quizzical and volatile wore his humours that lago was quite the com- " edinn, even in the big scene with Othello \ in tho third act. He was a wicked, sprite, \ who danced and bowed, and hissed and menaced all in a brenth, and made Othello appear to bo quite the dullard ■ Emilia calls him subsequently not to detect such an obvious ruffinn. Still on ' the lines selected—not the best or tho 1 most effective for Othello—the part was ' aptly sketched. Mr. Caleb Porter pre--1 Rented' an aged Brabantio with a -very bad cold and sore throat most convinc- ' ingly. Mr. H. It. Hignett was too meek 1 and mild a person for a holl man-at- • arms, and his drunken scene" was not a • bit; convincinu. Mr. Norman Harle was ' excellent as I.odovico, and Mr. Alfred 1 Bristow was similarly well placed as Ttoderigo. Miss Frances. Wetherall was 1 Emilia. The tragedy was mounted with all attention to detail. The ramparts ; scene at Cyprus was a particlilarlv striking set, and Othello's court and the dark tapestry-hung bedroom were both effective stage dressings. "Othello" will bo played to the end of the season.