THEATRE ROYAL.

Globe, Volume XXIII, Issue 2338, 30 September 1881, Page 3

THEATRE ROYAL.

Perhaps of all the plays in Miss Pomeroy’s repertoire there is not one in which her appearance would be more eagerly looked for than in “As You Like It.” Apart from the fact of its intrinsic beauty, Rosalind is a character in which all the ladies who have essayed to woo the sweet voices of Christchurch audiences have appeared. Of Miss Pomeroy’s Rosalind let us at once say this, that it was simply charming. Miss Pomeroy’s wonderful gift—for it ia no less—of expressing volumes by her by-play, was never more conspicuously or more artistically developed than in the part of Rosalind last night. The more’than sisterly affection she bears to Celia, the swift but lasting love inspired by the young Orlando, the deep interest felt in the varying fortunes of the wrestling match, were each in turn expressed by a gesture or a look more eloquent and more intelligible to her audience than any words. So also in her interview with the Duke on being banished. It was not so much the words in which she defends her absent father

as the expressive by-play which accompanied them. Miss Pomeroy in the earlier part of the play gave us a very charming rendition of the gay, lightsome girl, full of jest and merry sport. The forest scenes in parts were marked with much breadth of thought and thoroughly artistic feeling. The only objection that can be taken to Miss Pomeroy’s performance of Rosalind is that she was just a little too womanly in these. The love she bears Orlando is deep and overwhelming, but throughout the period that she wears the disguise while she is in his presence this is subordinated entirely. Now Miss Pomeroy did not make this point strong enough. She allowed, as it were, her passion to overcome her. The caresses she bestows upon Orlando would at once have awakened his suspicions, and discovery have been inevitable. As the author intends it, there can be no doubt that it is only when alone, or to the faithful Celia, that Rosalind reveals the full measure of her love. Except in this particular, Miss Pomeroy’s Rosalind was an artistic creation, worthy to take high rank. Nothing could be finer than the scene where she swoons at the intelligence of Orlando’s wound, or the archness with which the epilogue was spoken. The former was a_ consummate piece of acting, in so far that it was to the life natural. Miss Pomeroy was deservedly recalled at the end of each act, and at the conclusion of the piece. Miss Grey, who made her dehut here as Oelia, created a very favorable impression. The part was played excellently throughout, though at times there was a tendency to speak hurriedly, which detracted somewhat from what else was an exceedingly artistic rendering. Miss Douglas as Audrey, and Mies Jenyns as Phoebe, especially the latter, acquitted themselves admirably. Mr I'lemming’s Orlando was a great treat. There is about this gentleman’s acting a grace and quiet force, which makes it most enjoyable throughout—it was decidedly one of the best impersonations of the character we have ever had here. Mr Holloway made a capital Jacques. He gave a most forcible picture of the misanthropic and cynical philosopher, and in the well known “Seven Ages” achieved quite a triumph by his finished elocution. Christchurch playgoers know Mr Hoskins’ Touchstone so well, that to praise

it is to gild refined gold. It is an impersonation that one is seldom privileged to enjoy, and received at the hands of the audience a full measure of appreciation. Mr Wallace played Adam capitally, without making it so senile as is generally the case ; and Messrs Hamilton, Jewett, Rede and the other members of the company rendered efficient service in making the play a success. Miss Pomeroy sang “The Cuckoo song’’ splendidly, the only regret being that there was not more ; and the quartette “ What shall he Have” was so nicely sung as to cause an encore. The piece will be repeated to-night, and to morrow “ Antony and Cleopatra,” with Miss Pomeroy as the regal Egyptian, is announced.