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SHAKESPEARE SEASON.

CONCLUSION WITH “HAMLET.” , THE ALLAN WILKIE COMPANY. The Shakespeare season by the Allan Wilkie Company was brought to a conclusion by the performance of “'Hamlet” st the Empire Theatre on Saturday. The theatre was crowded in anticipation of both a dramatic and an intellectual treat, an anticipation that was realised to the full.

“Hamlet” is not only the longest but also the most complex of all Shakespeare’s plays. The character of the prince is extremely complex, and all the other chief characters present problems more or less difficult. Further, drama is considered, rightly we think, the least subjective form in literature. Plays written with a purpose are usually co obviously so as to be hardly deserving of the name of literature. “Hamlet,” however, seems a notable exception, and the problem of how far we may consider the subjectivity of the writer‘extends is by no means an easy one. The point is important because upon our solution depepds our interpretation of much of the play. It would appear, for instance, that Hamlet had no sufficient reason for complaining of “the proud man’s contumely, the pangs of despised love, the laws delay!” All these, no doubt, had been Shakespeare’s experience. Further. Hamlet’s disquisition on the subject of acting, and the complaint about rival companies can hardly be anything but Shakespeare. How far then is Hamlet to be identified with Shakespeare. Probably there is more diversity of opinion among students (all good actors are students) as to the conception of Hamlet’s character than about that of any other prominent character in any other drama: and every student of necessity having in his mind his own idea of‘what manner of man the prince was. must be prepared to have that idea challenged or shocked on seeing a different interpretation by a good exponent. It is now agreed practically by all students that Hamlet was not mad. Air Wilkie brought out this very clearly, and. in spite of much that was at first sight contradictory, succeeded in the very difficult task of presenting a consistent conception right through. The scenes in which the ghost appears were perhaps his finest efforts. The graveyard scene was excellently done, while the duel scene followed by the death of the prince was very powerful. It seemed to us that the confusion at the conclusion of the play scene was perhaps slightly overdone. The part of Claudius, the King, was excellently played by Mr Augustus Neville. He preserved the stately demeanour and fu|l -sense of *>he importance of his position of the jx.ing. Mr AA 7 ilson as Pononius was admirable. Tn the play the less pleasant features of this character are those emphasised, partly, no doubt, as a contrast to the strong common-sense of the king, to the contemplative character of Hamlet and to the impetuosity of Laertes. Laertes, with his condescending advice to Ophelia, his hastiness and extravagance both of language and action was well played by Mr Aloore. He showed to best advantage in the final scene in the duel with Hamlet and in his dying confession and condemnation of the King. Horatio is the one faithful and constant friend of Hamlet, and Air Manners was most successful in his representation. The ghost is an exceedingly difficult part to undertake, but Mr 'Lennon proved equal to the occasion. „ . As the Queen Miss Lorna Forbes was above criticism. So completely had she identified herself with her part that jt is impossible to say whether she was better as queen, as mother, or as mourner. The scene in which she undertakes to “be round with Hamlet” was most intensely real. The Queen never knew that her present husband was the murderer of her late husband. As Ophelia Afiss Hilda Dorrington was eqnaOy successful. The sweet, gentle, amiable maiden, with but little will or force of her own, pure and beautiful as the flowers she loved, was splendidly represented. The infinitely pathetic scenes where she appears before the King and Queen after her mind had given way will long be remelnbered by those who saw them. The whole performance was a notftb’c success, especially when it is remembered that Mr Wilkie and his company played under what Mr Wilkie said “were the most appalling conditions under which he had ever played during the twenty years of his experience as a Shakespearean actor!” The stage was ridiculously inadequate for all the scenes, but especially the ghost scenes, the play scene, the graveyard scene, and the duel scene, where ample room is indispensable. Air Wilkie showed great enterprise in attempting the almost impossible, and lovers of Shakespeare are greatly indebted to him for making the venture. For rightly or wrongly, “Hamlet” is the Shakespearean play par excellence in the mind of the public.

At the conclusion of the performance Mr Wilkie expressed his thanks for the hearty support and appreciation accorded him and his company. He stated his intention to pay New Plymouth another visit just before the Christmas of next year, when he hoped to be able to play in the new and convenient theatre shortly to be erected. He also mentioned that it was largely due to Mr T. C. List, whom he had met ■in Sydney, that he had been Induced to come to New Plymouth.

Permanent link to this item
Hononga pūmau ki tēnei tūemi

https://paperspast.natlib.govt.nz/newspapers/TDN19221030.2.65

Bibliographic details
Ngā taipitopito pukapuka

Taranaki Daily News, 30 October 1922, Page 6

Word count
Tapeke kupu
879

SHAKESPEARE SEASON. Taranaki Daily News, 30 October 1922, Page 6

SHAKESPEARE SEASON. Taranaki Daily News, 30 October 1922, Page 6

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