NOTABLE REVIVAL

Sun (Auckland), Volume III, Issue 721, 22 July 1929, Page 15

NOTABLE REVIVAL

“SHE STOOPS TO CONQUER” j ALLAN WILKIE CO’S SUCCESS < “She Stoops to Conquer.” a. comedy - in three acts and seven scenes, by Oliver Goldsmith. Presented at His Maj- j esty’s Theatre by Adlan Wilkie. * CAST | Mr. Hardcastle Allan Wilkie Mrs. Hardcastle Lorna Forbes j Tony Pumpkin Milton Sands Kate Hardcastle .. . . Miss Hunter Watts Constance Neville .. . . Mildred Howard Stingo AVilliam Lockhart Mat Muggins Vincent Scully Young Marlow Alexander Marsh Hastings John Cameron Diggory Arthur Keane Sir Charles ;Marlow .. Herbert Sheldrick One hundred and 55 years ago ‘‘She Stoops to Conquer” was presented to a London audience and achieved a notable success. In August of last year Sir .Nigel Playfair revived Goldsmith’s comedy at the Lyric Theatre, Hammersmith, and all London flocked to see it. Perhaps the secret of this ageless comedy is that it is in the best tradition of the English theatre—so thoroughly English that it took an Irishman to write it. The characters are direct antecedents of the stage characters of modern plays, and we are able to see where writers of “modern” comedy obtained much of the business which delights the theatregoers of today. It was reported that Horace Walpole thought “She Stoops to Conquer” a very vulgar play, without moral or edification. What would he have thought of the seedy trifles which pass for comedies today? Goldsmith’s comedy neither teaches nor preaches; the two heroes behave like men who are men: the heroines are sweet and twenty and do not pretend to be anything else: the love-making is done without maudlin sentiment or elaborate excursions into sex problems. What a flavour there is about these folk of Old England. It is just as rich today as it was when dissolute, spendthrift Goldsmith made his name as a playwright. The times have changed, maybe, in circumstance and methods of production, but the essential stagecraft, the mordant humour and ihe healthy sentiment cannot be rivalled by the moderns. We are perhaps thankful that the aside has been eliminated, and wonder how the masquerade could be so easily accomplished, but that is beside the point. Young Marlow is the young man in love for all time; old Mr. Hardcastle, with his stories of the Duke of Marlborough and Prince Eugene, may be met with any day; though the stories will differ; Mrs. Hardcastle, enjoying her London second-hand from the “Scandalous Magazine,” still preens •*her**ellf in modern drawing rooms: Tony Lumpkin’.# counterpart can be found in numberless alehouses in The country; the descendants of Kate Hardcastle still confound their lovers with the tricks of love, and how many Constance Neville’s long to flee with their gallants, even if they desire to do so in Ford cars? Oliver Goldsmith knew more of human nature than all the writers on adolescent psychology who seem to have forgotten the essential factors which govern the lives of men and women. Certainly the humour is broad—that is the age. How many comedies of today will be applauded by audiences 150 years hence. The easy gaiety of the lSth century and the sprightliness of Goldsmith’s wit will survive so long as there are men like Mr. Wilkie who have the courage to produce it—for a production of old English comedies does take courage in these chaotic days of the theatre. A crowded house welcomed Mr. Wilkie and his company on Saturday evening, which proves that even the advent of the talkies has not killed the desire to see the work of old-time plavwrights. To those who have never seen “She Stoops to Conquer,” the production was a revelation; to those who wished to see it revived it was a delight. .... ~ Mr. Wilkie has clung to tradition, discarding only pedantries of pronunciation and other antiquarian affectations, and in doing so he has given us “She Stoops to Conquer” with its own atmosphere. The costumes, all of which have been made in Auckland, are charming, and the stage settings delightful pictures in themselves. Kate’s first entrance is one of the most lovely little scenes in this admirable revival which, and this is for those who really admire the theatre, should not be missed. Kat© Hardcastle is a deliciously feminine character, played by Miss Hun-

ter Watts with grace and charm, network in the second act was beautiful to watch. Mr. Wilkie made Mr. Hardcastle urbane and traditional. It was a sound, well-balanced performance, though one found it difficult to dissocciate him from his Shakespearian roles. Mr. Marsh evidently relished his work, which is always pleasant to both eye and ear. Miss Forbes proved her ability to play any “period” roles with skill and understanding. Mr. Sands enjoyed his buffoonery and horseplay and gave us an admirably sustained and well-acted character. Mr. Cameron's delivery and bearing enabled him to present an excellent 3 3fch century character. Mr. Keane, Miss Howard, Mr. Scully, Mr. Sheldrick and a host of minor characters all fitted perfectly into this amusing and interesting picture.