SHAKESPEARE SEASON

Taranaki Daily News, 27 October 1922, Page 5

SHAKESPEARE SEASON

FIRST NIGHT OF ALLAN WILKIE “THE MERCHANT OF VENICE.” Mr. Allan Wilkie and his talented com* pany were listened to by a crowded house on the occasion of the opening of their New Plymouth season last night, and they are to be congratulated on the 575th consecutive performance of Shakespearian plays. The inadequacy of the Empire Theatre as the scene of dramatic represents tions was once more amply illustrated, and a strong argument, put forth for the erec tion of the much-needed theatre. A movement is, however, on foot to erect such a building in the fairly near future. The play selected for the opening performance was “The Merchant of Venice," one of the Early Mid-period comedies. The excellent staging and acting lent an addi tional charm to a work familiar to all whe know anything of Shakespeare. The most cursory reading of the play. and that of Marlowe’s “Jew of Matta," a play only t few years earlier, shows the immense ad vance made by Shakespeare upon his pre decessor’s work. In the earlier play the Jew is but a monster of greed and cruelty a being utterly devoid of any finer feel ings. Shylock, on the other hand, thougf represented in what was in Shakespeare’s day the popular idea of a Jew, has othej feelings. He has some respect for hit oath, and intense feelings of loyaltj towards his co-religionists. He is shocked by his daughter’s marriage to a Christian, and experiences some remembrances ol emotions of tenderness when he hears that the ring given him by his wife years ago had been exchanged by his daughter for a monkey. The simplicity of the scenery, and properties is deserving of high commendation, as elaborate scenery and setting are calculated to distract the attention of the audience from the essential part of the performance. The dresses were in excellent taste and were sufficiently in accord with that of mediaeval Italy to give just, the right illusion. The stage in the Empire Theatre is so small and inconvenient that the performers were cramped and had to contend with difficulties during the whole play. In spite of this they succeeded admirably. Coming to the actual performance, a* was to be expected, Mr. Allan Wilkie was the outstanding actor. In the part of Shylock he had a difficult role to play. Every student of Shakespeare has his own conception of a character, and this conception is tested on witnessing a performance by an acknowledged master. Mr. Wilkie never allowed Shylock’s consuming passions of avarice and hatred to degenerate into mere incarnations of these passions. His Shylock is at all times human, a fearful type of humanity, but still human.

The plea of the Jew to be considered a human being is an irresistible argument for treatment as such, and this was finely brought out, a note of pathos being felt through it all. This appeal, being felt in the twentieth century more than it was ia Shakespeare’s day, tempers a little our indignation with the Jew and our exultation at his ultimate discomfiture. The trial scene is quite the best known in the whole play, and it is safe to say that no part of the performance was better done. The obduracy of Shylock, his almost impressive hatred, his exultation when he felt him self secure of his revenge, his sudden shock when he finds that his bond was, after all, insufficient to consummate his desires, and finally his utter breakdown, were all very impressively rendered. The dropping of the knife when he finds that no drop of blood was tc be shed was a fine dramatic conception. Mr. Jack Lennon has a difficult part in Antonio. He preserved everywhere that earnestness, sincerity and goodness of heart that impressed his friends so deply. This was noticeable particularly in his demeanour in the trial scene, and in his reconciliation of the quarrelling lovers at the close. The news of the safe arrival of his three argosies, supposed to have been wrecked, is perhaps a little melodramatic, and to prevent this impression from being left on the minds of the audience requires skill and restraint on the part of the actor. This skill and restraint Mr. Lennon showed all through the play, but especially hen*. Bassanio, the handsome, brilliant spendthrift, beloved of all his friends, presents a striking contrast to his special friend, Antonio. His somewhat gay irresponsibility, which was to bring down his friend so near to destruction, was well sustained by Mr. Robert Purdie. The sobering of his character under the increasing sense of his indebtedness to Antonio and the earnestness developed by the maturing of the plot was well brought out, especially in his passionate eagerness on behalf of his friend at the trial scene. In the episode of the ring he is a little less gay than he would have been three months earlier. . The part of the irrepressibly gay Gratiano was taken by Mr. Fred Macdonald. His representation at the trial scene was his best effort. The part of Lorenzo was well done by Mr. Leslie Manners. In the beautiful moonlight scene might, perhaps, have given a more peotic rendering, and the same remark applies to the charming little duet, “On Such a Night.” Launcelot Gobbo is one of Shakespeare’s great clowns. He is conceited and a coxcomb, yet his kindly disposition and neverfailing liveliness and wit keep his hearers in a constant state of expectation of some fresh vagary. Like all Shakespeare’s great clowns, he is most loyal to those to whom he attaches himself. All this was most happily rendered by Mr. Wilson. The remaining male parts were all well done. The part of Portia was very finely played by Miss Hilda Dorrington. Her voice i« of a specially fine, resonant quality, and her intonation was excellent. She was at her happiest in the lighter scenes, being especially charming in the casket episodes. As the doctor of laws, she had a difficult part and played it well, but perhaps she wat still better in the amusing ring incident. The general impression given by her acting was that of a bright, affectionate and intellectual woman with that indefinable but ever-felt charm that belongs only to the best of her sex. Higher praise it is perhaps impossible to give, as, after all, it. is the- general effect, rather than the detai', that counts.

Miss Pamela Travers, as Nerissa, played her part charmingly, but, possibly because she was hampered by the inadequate stage, was inclined at time to speak a little too quickly and a little inaudibly. She showed in an excellent manner the light vivacity which contrasted so pleasingly with her mistress’s somewhat sedater charms, and suited so well Gratiano’s gaiety. The whole performance was characterised by a unity of conception, which was even more effective than the careful working out of the details. That this was the intention of Shakespeare is obvious from the most cursory study of the stage of his day and its accessories.

At a matinee this afternoon, “A Midsummer Night’s Dream” will be given, and to-night “The Taming of the Shrew" wid be presented.