SHAW FESTIVAL

Sun (Auckland), Volume III, Issue 786, 5 October 1929, Page 28

SHAW FESTIVAL

“The Apple Cart” Opens a Two Weeks’ Event NEW PLAY LESS EFFECTIVE The Bernard Shaw Festival at Malvern was organised by Sir Barry Jackson, writes Herbert Farjeon in the London “Daily Chronicle.” Shaw in the theatre, Shaw in the bookshops, Shaw on the hoardings, a Shaw exhibition in the Free Libary! Altogether it looks as though Bardolatry in Stratford may be seriously rivalled by Bernardolatry in Malvern. Naturally, there was a packed house to witness the first public performance in English of “The Apple Cart,” the I first play Mr. Shaw has given us since “Saint Joan” five years ago. That it will be less popular than “Saint Joan” is pretty certain, for it contains almost no “human interest.” THE KING’S VETO It is a political satire with a brief for "the king business.” Keeping England for his scene, the author dives once more' into the future, that he may have freedom to utter his thoughts on delicate issues. What he presents is a conflict between absolute and constitutional monarchy. He begins with a Labour Government which has wiped all other parties out of existence, and is in such complete power that the people's only safeguard is the king’s veto. This the king, who is suave and downy, has himself perceived. He has even indicated in public speeches a disposition to exercise his veto. The Prime Minister (Act 1.) is consequently up in arms. Backed by his highly uniformed and highly satirised Cabinet, he presents the king with an ultimatum, stipulating for no veto and no more public speeches. "Not even,” asks the king, “if you dictate them?”

G. B. SHAW

“No," answers the Prime Minister; “your Majesty has a way of. unrolling a manuscript and winking. . . . The king demands a few hours (Act II.) in which to make up his mind. He then (Act III.) announces his decision. He will abdicate in favour of Hi* son. The Prime Minister, upset but firm, sheds a rhetorical tear over the parting. EX-MONARCH AS M.P. Then comes the Shavian solution—and a pretty solution it is. The king announces that there will be no parting, but a meeting on even terms. When he abdicates he will ipso facto become a private gentleman. When he becomes a private gentleman lie will stand as Parliamentary candidate for the Royal borough of Windsor. At last he Avill be able to say just what he thinks of the Prime Minister who will be in a position to retaliate in kind, if he dares; How does the existing Prime Minister like the p-ospect of the new king sending for his own father to form a Government? The existing Prime Minister does not like it at all. He knuckles under. He tears up the ultimatum. Royalty wins hands down. EDITH EVANS’S TRIUMPH

‘“The Apple Cart” is written in the same key as the Cabinet scene of “Back to Methuselah!” Passages of penetrating wit are ’ punctuated by jokes of the music-hall breed. The second act, although irrelevant, is perhaps the best. Here Edith Evans, as the king’s curiously platonic sweetheart, treats us to a superb exhibition of imperious vanity.

Cedric Hardwicke as the king gives a smooth, suggestive performance. Charles Carson as the Prime Minister is capital in his tantrums. On the whole, although slightly disappointing, the piece is thoroughly characteristic. It would be unfair to say that Mr. Shaw, at the age of 73, is not what he was. He is exactly what he was—but just a shade less effectively .