THEATRE ROYAL.

New Zealand Times, Volume XXIX, Issue 4291, 21 December 1874, Page 3

THEATRE ROYAL.

Tho opening of the Theatre Iloyal hy,Messre, Bates and Howard, and the splendid performance of Saturday evening, brought to the recollection of tho supporters of the drama in Wellington a few reminiscent facts which would not have been unearthed but for the coming amongst us of two artistes, whoso performances raise the profession at a hound from a very depressed level to a position it has not occupied since the farewell performances of Mr. and Mrs. Hoskins {nc6 Colville). There was a time in the history of Wellington, when the “legitimate” drama was consistently and liberally supported by a considerable section of tho community, hut that patronage, it is regretful to say, has been abused to such an extent fluriug the past two •years by inferior companies that tho taste for theatrical performances has almost died out. Performances at all removed out of the region of mediocrity never failed to secure payable audiences, but it must be interpreted as flattering to tho popular judgment that dramatic speculations of late have been commercial failures. Once more a

complete transformation is made, and the people of Wellington have now the opportunity of witnessing talent brought to the antipodes at considerable cost by a Victorian entrepreneur, Mr.G. Coppin. Mr. and Mrs. Bates come to the colony with high recommendations, which,_ by themselves, go for nothing. Nevertheless, it is a pleasurable satisfaction to confirm by independent judgment the praises which have been won elsewhere. Not often has it fallen to our lot in Wellington to record n success as complete as that achieved by Mrs. Bates in the character of “ Elizabeth, Queen of With a figure petite rather than otherwise, this lady threw into the character she represented so much vigor and resolution that she seemed at times actually to tower above the other occupants of the stage when personating the haughty and magnanimous Queen; whilst, on the other hand, she appeared to shrink into mere nothingness when delineating the vain, shallow, pedantic woman. As a good illustration of the former, we point to the scene when the news is brought to her of the setting out of the Spanish Armada as being the very zenith of the power of the imperial Queen ; and to illustrate the latter, we point to the scene of Essex s disgrace as hein" the nadir of the abasement of the woman in her outraged vanity. Remarkable also is the scene where she dictates to Burleigh and Davison at the same time, the rapid change of diction, and the no less rapid change of expression and attitude being something admirable ; nor must we omit the signing of the death warrant of Mary Stuart, with the quick unfolding of the different passions as they affected the proud and impetuous Tudor. Having said thus much we shall not attempt to evolve the intricacies of the plot of “ Elizabeth Queen of England,” which, for anachronisms, improbabilities-, and impossibilities, is a very olla poO.rida, setting our pre-conceived notions and somewhat imperfect knowledge of history at utter defiance. The part of Queen Elizabeth, so entirely absorbs the attention of the audience that the other performers, so to speak, have no- “ show nevertheless, it is but just to say that Mrs. Bates was ably supported by Miss Adelaide Stoneham (Lady Sarah), and Mrs. Stoneham (.Lady Anna), the latter of whom played the part assigned to her with a quiet and becoming dignity. Mr. Charles Burford (Burleigh) and Mr. J. P. Hydes (Davjson) did what was required of them as old stagers, and Mr. E. M. Bates (Earl of Essex) in the one important scene allotted him fairly earned the applause he received ; and considering the short notice, and of necessity imperfect rehearsals, the (t colts” were tolerable. It is with no captious desire to find fault, but with the honest intention to raise the stage to its proper elevation, that we make the following suggestions, thus : —lt is quite inconsistent with good manners (not to mention the stringency of etiquette) to suppose “ Elizabeth the Queen” would permit anyone to enter the royal presence “ bonneted, booted, and spurred,” and to remain covered, let alone punishing the royal mahogany with the clenched fist ; again, it is equally inconsistent with the known gravity of a Spanish grandee of the first class that, as the representative of King Philip, he should rail at the Majesty of England as though she were an ordinary mortal. The office of the player is “to hold as’twere the mirror up to nature.” It remains to say that Mrs. Bates received a vociferous call at the end of each act, a distinction that she fully and honestly earned. The statement may be hazarded that this character is Mrs. Bates’s best. Whether it be so or not, it is a performance that evinces long and patient study of the characteristics of the “ Good Queen Bess,” and as a historic picture should be witnessed by those whose impressions of the character of the Queen may have faded from their memory. It should be mentioned, also, that there was no hitch throughout the piece, which was placed on the stage in a manner indicating the presence behind the scenes of some one who understands thoroughly the intricacies of the profession. ____________