THEATRE ROYAL—“ KING LEAR.”

Globe, Volume XX, Issue 1592, 27 March 1879, Page 3

THEATRE ROYAL—“ KING LEAR.”

Mr William Creswick made his third appearance last night in what is justly considered Shakespeare’s grandest and most sublime tragedy—“ King Lear.” It is a play but rarely represented, and it demands for the adequate rendering of the central figure a combination of qualifications seldom found in actors of the present day. Physical vigor, without which the actor must fail who essays the character of Lear, is the least of these qualification, and to this must be added the subtlest insight into the mental arcana to actually represent that fine distin tion between where reason totters and madness commences that is the dominating feature of King Lear’s aberration Throughout all the afflicted old King’s ravings, the cruel ingratitude which has deprived him of reason is never for an instant forgotten, whil-i, so monstrous is the crime of which his unnatural daughters are guilty, that he never seems fully to realise the truth which in all its deformity has turned bis whole kindly, kingly nature to fury and wrath, more terrible from its very impotence. In every phase of the part of “Lear” Mr Creswick was truly the great artiste he has been represented, and if he never played another part in this city it would live in the recollection of those who witnessed it as a most perfect representation. The interest of the tragedy culminated in the nheit gradations, from the opening scene where the “ foolish fond old man” bestows all his substance on R-gan and Goneril, and bis start of indignant and incredulous astonishment at the supposed cold-heartedness of his younge t child, to the supreme moment where, crushed in heart and brain, he kneels over the body of the murdered Cordelia, whom he has only regained to lose for ever. The tremendous curse which he pro-noun'-cs on Regan was given with terri 1-j earnestness, and equally grand was his wrathful invective when he realises Goneril’s baseness and piteously pleads for her love. The passionate ejaculation *' Oh, Fool, I shall go mad !” was apparently wrung from a broken heart, and brought down a burst of applause. The whole of the third act was invested with a weird and supernatural interest |that held the spectators spellbound, and almost made them for the time forget that it was only the woe of a mimic monarch they were witnessing. In till the terror and overpowering horror of the “ heath ” scene, with the wild waves of madness surging through bis brain, and bursting forth in fierce invective, the natural kindly nature of the King gushed forth in his touching tenderness and protection to the ‘‘poor fool.” The rapid delivery of the line with its suggestion of quick and apprehensive fear, “ No, no. That way madness lies,” was admirably true as was also the subsequent question when be is listening to Edgar’s ravings, “ Hath his daughter brought him to this pass?” The end of the third act, where overstrained natu e collapses and the King falls insensible, was worked up with powerful art. The acting of Mr Creswick was equally fine in the fourth and fifth acts; the recognition of Cordelia and his subsequent dying scene being most impressive. Mr CresvieK was honored by a special call at the end of every act. Next in merit came Mr H. H. Vincent’s performance of Edgar, which was as picturesque as it was powerful. In a character which from its very extravagan e of conception, presents an almost irresistable temptation to over act, it was most creditable both to Mr Vincent’s taste and judgment that ha never yielded to this temptation. It was a fine interpretation of one of the most difficult characters in the whole range of Shakespere’s plays. Miss Helen Ashton played Cordelia, an l, short as the character is, she invested it with an amount of tenderness, especially in the last act, that materially helped to sustain the interest. Miss Annie Mayor undertook the part of “The Fool,” and delivered the quaint speeches with unstudied esse and effect, and the snatches of song were rendered with a purity and simplicity which were at the same time plaintive and and telling. Her costume was picturesque and effective. Mr Whyte made a prominent feature of the faithful, incorruptible Kent, and appeared to greater advantage than on any previous occasion. Miss Solange Novaro played Goneril with power and effect, and Miss Bessie Vivian appeared as Regan. Mr Charles Burford gave a conscientious Shakesperian interpretation of Edmund, and Mr John Howe is entitled to consideration for the way he played the important role of Gloster. Mr H. Power made a great deal of the character of Oswald, and Mr iriliott gave a manly rendering of the Earl of Albany. King Lear will bo_ repeated this evening, and to morrow night will be replaced by Lord Lytton’s fine play “ Richelieu,” with Mr Creswick as the great cardinal, and Miss Helen Ashton as Julie de Mortimar.