Shakespeare Anniversary Night

Radio Record, Volume IV, Issue 40, 17 April 1931, Page 3

Shakespeare Anniversary Night

The 315th anniversary of Shakespeare’s- death falls on April 23, and in commemoration special programmes have been. arranged for 1Y A-and2YA on that evening.

ON April 23, Stratford- ' on-Avon, the birthplace of Shakespeare, will commence its annual Memorial Week in honour of the greatest poet and playwright England ever knew. Each year celebrated Shakespearean actors and actresses from all parts of the Empire ,foregather to pay homage to the long-dead bard. . Names such as those of Sir Francis Benson and Sir Johnstone Forbes-Robertson, two leading figures of the Shakespearean world of t@lay, and that of Sybil Thorndike, one of ti greatest tragic actress of our time, are but three of the galaxy of world-famed names whose owners will attend Memorial Week. In addition, thousands of Shakespeare devotees from all parts of Great Britain make a yearly pilgrimage during Memorial Week to Stratford-on-Avon and its historical neighbourhood, made famous because of Anne Hathaway’s cottage, the house, of Shakespeare’s birth, the celebrated Droeskout engraving, and a hundred other antiquities which perhaps knew the touch of genius. Processions and festivals, gay with colour, are held in the streets where once Shakespeare walked, while in the famous Memorial Theatre, Shakespearean plays are pérformed, often by foreign companies. The settings are always of the simplest. Though we in New Zealand have no Memorial Theatre to keep fresh the name of Shakespeare, nevertheless the ‘approaching

anniversary of his death-the 315thwill not pass unnoticed. On the evening of April 23 Clement May, noted elocutionist and President of the DickensShakespeare Society of Wellington, will present from Z2YA four excerpts from . three of Shakespeare’s most famous plays, namely, "Julius Caesar," "Romeo and Juliet," and "Macbeth." Assisting him will be a chosen company of his — pupils. . Below Clement May makes several interesting observations coricerning — Shakespeare’s works, and explains why they are immortal. "To say that Shakespeare’s plays will never die is almost a truism, but the fact was never so forcibly brought home’ to me as when I was watching a performance of ‘Julius Caesar’ recently. . "The dress of those taking part was, — of course, strange, but. I closed my eyes -and heard thoughts and emotions expressed as I have often heard them in every-

day life. We are all unconscious plagiarists of Shakespeare, and that is why his works are modern, and always will be until humanity ceases to exist. They are not just historical writings, but are human documents, instinct with life. ‘TE is in this respectin Shakespeare’s uncanny ability to clothe himself in the very personalities of living beings, and to voice their thoughts as they themselves wouldthat he was a genius. His plays live, for they are life, and because of this they are ageless. Pitt, famous statesman and orator, once paid tribute to Shakespeare’s beauty of diction by quoting him in his famous speech on the Slave Trade: ‘But yesterday, and Britain might have stood against the world. Now none so poor as to do her reverence,’ Read ‘Caesar’ for ‘Britain’ and ‘him’ for ‘her,’ and the quotation is from ‘Julius. Caesar" . . ." The first scene Clement May and his company will present is. from "Julius Caesar." It commences just after the murder of . Caesar by Brutus and his fellow-conspirators, when Brutus is telling the people not to be affrighted at the tragedy. The conspirators talk among themselves, congratulating each other on the deed, and anticipating the esteem in

which they will be held by posterity: "So often shall the knot of us be call’d, the men that gave their country liberty," avers Cassius. Then Mark Antony enters, shocked’ at the death of Caesar, and demands an accounting. Brutus, anxious to avoid antagonising Antony, endeavours to placate him, and pro-. mises that a full explanation will be forthcoming. Sorrowfully Antony realises that what has been done is perhaps for the well-being of the Empire, but nevertheless he demands. proof of Caesar’s shortcomings: "F riends am I with you. all, and love you all; Upon. this hope, that you. shall give me reasons, Why, and wherein, Caesar was dangerous." Antony then asks permission to speak at the funeral. This Cassius counsels against, for Antony’s powers of eloquence are well known and would be dangerous if used. to sway the populace against the conspirators. Brutus, however, over-rides. the objection, provides,.as he tells Antony: — eran "You shall not in your. funeral ‘speech blame us. But speak all good you can devise of Caesar: And say, you do’t by our: permis-

sion. ise shal you not ‘have any hand at all, about his . funeral." Antony agrees and the body, of Caesar 1s borne away in preparation for burial. . (Continued on page 13.)

Shakespeare Anniversary (Continued from page 3.)

The next excerpt for presentation Is the well-known "Brawl Scence,"’ from "Romeo and Juliet." The scene is a public ‘place on a bright, hot, summer day. Mercutio and Benvolio, two members of the House of Montague, which is at deadly enmity with that of Capulet, enter, followed by a page’and servant. Mercutio is a dashing, care-free gallant, seem: ingly never happy unless engaged in a brawl, When Tybalt, of the rival house of Capulet, appears on the scene with several followers, Mercutio provokes the newcomer to draw and fight. Then Romeo, a Montague, appears and steps between the duellists to separate them. Tybalt seizes his opportunity and under Romeo’s arm stabs his opponent mortally. The latter is assisted to a nearby house, but expires in a few minutes. Benvolio has just acquainted Romeo of this when Tybalt returns, and in a fit of rage Romeo forces him to draw and kills him. The Prince, however, who has banned public brawling under pain of death, is seen approaching, and Romeo, aghast at what he has done, is forced to flee for his life. HE next excerpt is the famous balcony scene from "Romeo and Ju- liet’-often referred to as the "Holy Scene." It takes place in the garden of the Capulets, below the balcony of Juliet’s room. Romeo, who has crept into the enemy’s garden under cover of night, is revealed making love to Juliet. The fact that they are members of rival houses troubles the lovers, and Juliet suggests a way out of the diffi culty: "O Romeo, Romeo; Wherefore art thou Romeo? Deny thy father and refuse thy name; Or, if thou wilt not, be but sworn my love, And I’ll no longer be a Capulet." ‘THE fourth and last excerpt for presentation introduces the wellknown "Dagger Scene’ from "Macbeth." It includes both the contempla-

tion of the murder of Duncan and the murder itself. This scene has been arranged for two performers only, and will be enacted by Madge Thomas and John Storr. It is worthy of mention here that in the last competitions held in Wellington the open dialogue section was won by these two artists, presenting this scene. ‘Jt runs as follows:-Macbeth, ambitious, but without the courage of his convictions, conceives the idea of murdering Duncan, King of Scotland, and usurping his throne. He confides his evil intentions to Lady Macbeth, and she eggs him on to the completion of the deed. There is much moral cowardice in . Macbeth’s nature, however. He is. prone to superstitious fears, and they. so work upon him that hé relents from | his purposes and requires to be spurred to "prick the sides of his intent" before he will attempt to achieve that which will lead to the satisfying of his ambitions. He tries to back out, alleging for his reasons that Duncan "of late hath honoured him." Throughout this scene the sharp’ taunts of his stronger-willed partner . once more rekindle the fierce desire, which, beneath Lady Macbeth’s lash,’ burns with such vigour that he irre-. vokably decides to slay his kinsman and his king. And so the deed is done.