THE THEATRE.

Dominion, Volume 6, Issue 1818, 2 August 1913, Page 9

THE THEATRE.

[Br Stltids.]

The World's a theatre; tlici Earth a stage.—llcywood.

Lewis Waller as "Henry V." Air. Lewis Waller, the' eminent Enslish romantic actor, appears to have fully maintained tho reputation that preceded him in. Sydney. Writing of the initial production, "Henry V," tho "Sydney Horning Herald" said Saturday night 's audience accorded tho iamoiLs English actor a right royal reception. The applause was overwhelm»»K; .J "G hand-clapping reverberated like f. hailstorm towards tho crowned .nd Kingly figure standing patiently and immovably in profile 011 Ike steps of tho minnc throne; and though there was 110 response 011 his part, yet tho actor's voice was shaken by emotion during the opening words of his first great part on the Australian stage. Ilis impersonation subsequently justified this generous anticipation of good things to come. It was marked by a spirit of energy and a nervous force whicli gave stirring significance to the addresses to the army. Moreover, in less strenuous scenes, without losing the music of the lines, Mr. Waller's stylo was easy and natural., His method does not belong to the "natural school of modern acting" which Mr. 11. B. Irving il"Hamlet." There is nothing the _ "hole-and-corner" manner about Mr. Waller's elocution. "Henry V" could not bo played in that way; and the artist was entirely successful in it. Everyone will rejoice that Mr. Waller made good his footing with, our playgoers in a Shakespearean character. The play itself, apart from containing many of tho finest .speeches the poet over wrote, presents itself as not quite homogeneous, not thoroughly fused together, as nbw presented on the modern stage. This arises from tho vast number of its shaking parts. A flood of dazzling light ia focussed upon the warlike Harry of England, episodes of homely or humorous personal interest gleam brightly, and the rest forms a kaleidoscope of changing colour, princely visions, battle-tableaux, and martial niusic. All is picturesquely and effectively shown, and there are some beautiful landscape scenes in addition' to tho battlo tableaux. Messrs. Leslie Board and W. Little's finest painting shows the samp at Agincourt, by moonlight, with tho English teuts amidst the trees and bracken 011 the levels in front, whilst the fires of the French , army appear glowing on the low hills at the back. After the King's prayer, an enchanting effect of rapid sunrise dyed the dull and distant sky with crimson, followed by the yellow light that passed across the scene. and roused the watchful English to their desperate battleday. "There are two romantic episodes that would make the fortune of any play in this great port of the King, namely, his colloquy, whilst disguised by a heavy cloak, with the common soldiers, Bates and Williams (F. Hamilton and Frank Woo'rfo), and the, quarrel he humorously starts between the latter and the choleric Fluellen. The most touching situation in tho drama is revealed in the almost toarful discourse by the camp firo between the two soldiers beginning, "Brother John Bates, is not -that tho morning which breaks yonder f" Mr. Woolfo showed to the life the character of tho English rustic, tall of stature, large of voice, broad of speech, hottempered, and honest. It was an excellent impersonation; and.was at one time vividly acted hero by Harry If. Jewett, who subsequently rose to fame on the American .stage. Through it all, the King remains the foous of interest, and here Mr. Waller showed modesty and good-nature in argument, whilst the famous soliloquy 011 eeroinony, with its homage sweet, and poisoned flattery, oould not have been moro naturally, yet more effectively, delivered. Perhaps his best effort was the prayer, quite remarkable for its inwardness, reverential emotion, and sincerity. Tho actor, called and recalled at the close c.f every big scene, again roused the houso to enthusiasm with the great "Crispin Crispian" speech to the army; whilst in the last act, with many light comedy touches'of bluff humour, JlO revealed the Royal warrior teaching the French princess that "If ho be not follow with tho best king thou shnlt find the best king of goodfellows." Jliss Madge Tithcradge invested this sce.no with tho charm of her youthful vivacity, her coyness, and her beauty, over and above all of which her French accent was singularly pure."

Geo. Tithoradge on J. C. Williamson. "J. C. Williamson's Life Story, told in His Own Words" is the title of a neatlycompiled brochure of interest to all concerned in tho theatrical history of Australasia, and in the passing of a great personality. Tho matter consists for tho great part of an interview in tho first person which appeared in the "Bookfellow" some six years ago, together with appreciative references by those most closely associated with him in businessMessrs. Geo. Tallis, Hugh J. Ward, Geo. L. Goodman, Henry Braey, George Tithoradge, Oscar Asche, and Ldward H. Major. Of these, that written by Mr. George H. Titheradge is the best. Tho old actor said;

"Mr. Williamson brought me to Australia to play "Tho Silver King," in 1883; and in the years since then I learned vety greatly to respect him ns a manager and as a man. Ilis combination of qualities for theatrical management was highly unusual; in fact; I do not know any other living managor.'who possesses them in the same degree.

"In the first place, he was an actor., and a good actor, with a very wide experience, and a very considerable capacity. Then he understood very well what 1 call the mechanics of performance. Ho knew exactly what means to employ in order to reach his ends, and I suppose he was very rarely mistaken in his judgment of plays, and of men. ■ But. beyond these things he was a great organiser, a great strategist, a great general of the stago. He had wonderful foresight and farsight. His power of constructive imagination was very highly developed. "Thus, with one side of his talent, he could .see things and plan them as lie wished them to be, and with the other sides of' his talent ho could always bring them to pass—executing, after the lapse (we might even say of years) plans whicih he had conceived long before, and which hp had the patienco and the skill to ripen to maturity. "That is what struck me—his enormous power of generalisation, combined with his enormous power over detail. You meet very good business men, and you meet very good imaginative ~uien, but you very rarely meet a main who combines farsighted imagination with the professional and business and tactical sides that are necessary to give his imagination sliapo in a solid edifice of accomplished results.

"That capacity of Mr. Williamson's, to be both architect and builder of his huso theatrical structure, always seemed to 1110 quite unique. .1 believe Mr. Williamson really dreamed theatrical thing;, like a fairy ta*e. Then ho went to work and created them, perfect to tho last bow on tho satin rosettes of the princess's littlo ehoes." Tho booklet is published by the N.S.W. Bookstalls Company, Ltd., of Sydney. Letter from Mr, Hugh Ward. Writing from Sydney, Mr. Hugh J. Ward informs me that Gence will definitely tour Now Zealand. "Wellington will probably see her 011 September 23," writes Mr. Ward. "You will find her the most delightful artist who has ever visited this country. I am happy to say that she has been an enormous success on this side, and I think it will bo the same in New Zealand. Business is all round big. Unfortunately just at present smallpox lias struck Sydney, and everything is slightly affected. 'Within tho Law* is the most successful drama we have had for vears. 'Autumn Manoeuvres' is also a splendid performance. This will lie done in New Zealand by tho New Comics, who start in Auckland on September 8. Tho Julius Knight Company has been having a vrry successful season in the West. They now go to Melbourne for 11 couple of weeks, and then to New Zealand, opening mi August 26." The Art of Gecko. Mr. E. W. Morrison, who plays .Toe Gaison in "Within tiio Law" at Melbourne Theatre lioyal, appeared as Gecko in "Trilby," when staged for the fii\-.fc time in Wellington years ago. Gecko, in the piece, plays a violin solo*—or. rather, it. is played for him "off stage." lor his violin is a dummy 011 c, incapable of making anything but a squeak. Mr. Morrisnn relates that, at the boardingrhouso at which 110 was slaying at the time, that tlw nlav was runuimr, he ivns approached

one day by tho landlady, who exclaimed: "Oh, 'Sir. Morrison, 'l'hoy tell me that you play tho violin just lovely at tho Princess. I do wish you would play sometiling for me. I adore music!" 'Jho situation was rather awkward for tho actor, who didn't want to "put the show away," and he could think of no.icasonablo excuse with which to evade tho embarrassing request. At last lie said: "Well, X would if X could, but I haven't got a violin here." "Oh, that's all right," said tho lady of tho house, milking n dash for another boarder's room, "X can get you one." ,Anil presently sho thrust tho instrument into his hand. "It was just desperation," said -Mr. Morrison, in relating tho story, "so I guessed I would have to mako a try. So I clutched tho violin by tho throat, and from it came in strangled tones what I was trying hard to mako the tuno of 'Annio Laurie.' Tho landlady listened till the end, and, drawing a deep breath, exclaimed: 'Well, I didn't think it possible that a mere actor could play so well!'"

Notes, So numerous and varied are the pronouncements of Mile. Genee's name that it will set many doubts at rest to mention exactly its corwbt pronunciation. To spell it phonetically, it is pronounced "Shjon-ney," tho "j" being soft, whilst tlieflatter half of the word is with a short " e, 'j .'^' le gi'cat dancer has been called anything from "Gee-neo" to "Janey."