THEATRE ROYAL—“THE MERCHANT OF VENICE.”

Globe, Volume XX, Issue 1597, 2 April 1879, Page 2

THEATRE ROYAL—“THE MERCHANT OF VENICE.”

This favorite play from the fact of its very seldom being produced is always sure to attract a good audience, and last night’s attendance at the Theatre Royal was no exception to the rule. As usually done, the fifth act is omitted, as the main interest of the play is supposed to cease after the final exit of Shylock. _ This is to a certain extent true, the more especially when the rest of the characters are indifferently cast, and the comedy only placed on the stage for the purpose of exhibiting the powers of the “star” performer in the role of the Jew. With the, for the main part, excellent company now supporting Mr Creswick, the management did wisely in restoring the fifth act with _ its amusing embroglio and mystifications arising from the gift of Portia, and Nerissa’s rings to themselves in their assumed characters of the Doctor Belario and his clerk. The comedy, as far as the leading characters are concerned, was vary evenly performed last night, though as a matter of course the chief interest of the audience was centred upon the serious rather than the comic element of the play. Mr Creswick gave a very fine rendering of Shylock, although it was apparent that the enormous demand nightly made upon his physical powers, by his appearing in such a rapid and exhausting range of characters, told somewhat detrimentally on his voice. Mr Greswick’s conception or the character of Shylock is thoroughly consistent and full of excellencies. He presents before the audience a man imbued with the unconquerable hatred of the Christian race, engendered by class prejudices, persecution, and contumely, and in addition to this is the personal grudge he bears to Antonio, arising out of the rivalry of their interests. At the very outset there is no concealment of his aversion and his determination to “feed fat his revenge” when the occasion. offers. In the first two acts of the play Mr Creswick kept his forces in judicious reserve, but at the same time delivering the fine speeches in vindication of the rights of the persecuted race with consummate judgment and effect. His fine powers were exhibited in the scene with Tubal, where he alternately exhibits his race and grief at the flight of his daughter, aud his fiendish joy at Antonio’s losses. A more powerful display has never been witnessed in Christchurch than Mr Creswick’a brilliant acting in this scene, though the effect would have been greater had the tragedian received better support from the “ artistes ” who personated the characters of Solanio, Salarnio, and Tubal. In the trial scene Mr Creswick was especially effective, his acting being in the highest degree distinguished by a keen insight into the workings of the Jew-’s revengeful mind. Immov bio from bis purpose, malignant, and pitiless, the actor actually extorted the admiration of the audience in spite of their abhorrence of his vindictive cruelty and malice. One of the finest points in his acting was his statuesque attitude of attention while Antonio is beseeching Bassanio not to grieve for him, and the look of gloating possession and expectant vengeance which could be read in his face. Shy lock’s subsequent despair at the frustration of bis revenge, and ins utter prostration on hearing the conditions imposed as the price of his life, were mos powerfully depicted, and the inarticulate, cuOKing cry which burst uncontrollably from him when ordered to renounce his faith and become a Christian was painfully true and natural. On leaving the stage Mr Creswick was honored with a call. Miss Helen Ashton was most successful as Portia, all the comedy scenes being played with winning gracefulness and vivacity, while m the “ trial ” act, with the apostrophe to Mercy, she exhibited both elocutionary skill and dramatic effect. Miss Solango Navaro as Nenssa, and Miss Annie Mayor as Jessica, were attractive and contributed largely to the success of the play Mr H.H. Vincent made an admirable Bassamoaud Mr Burford was an exceptionally good Gratiauo. One cf the most artistic bits of acting in the play was the Gobbo of Mr Sterling Whyte. In such quaint sketches of character as this and the old fiddler in Amos Clarke this gentleman has never been surpassed by any previous actor in Christchurch, Mr Hurry Power was funny as Launcelot Gobbo, but not Sbaksperian; by this expression, dulness is not meant, but the ab once of quaint, dry, caustic humor, which made the of Harley and Compton iu Sbaksperian comedy on the English stage unapproachable. Mr A. Flliott looked and acted well as Lorenzo, and a 1 the rest of the characters were sustained with more or less success. This evening Philip Mas iuger s great play, “ A New \Y»y to Pay Old Debts.’' will be performed for the first time in Christchurch, in Creswick will sustain the character of Sir Giles Overreact and Miss Helen Aslitou Margaret.