Wilson Barrett's Reappearance.

Auckland Star, Volume XXVII, Issue 50, 29 February 1896, Page 1 (Supplement)

Wilson Barrett's Reappearance.

'The Sign or tub Cross.'

(fkom our special corbkspo-vdent.)

London, January 10. The Lyric Theatre, long regarded purely as v home of comic opera and musical farce, re-opened on Saturday evening with what might without impropriety be termed a Revivuliab play, to wit, Air Wilson Barrett's ' The Sign of the Cross.' The iour-act pieco cams to London with a big provincial and American reputation, and if Che reception of the play on Saturday can be taken us a guide the melodrama is to be a London triumph also. But firots nighb verdicts arfl as often as not reversed by the general public. Personally, I could nob join in the vehement plaudits of the Lyric audience, but confess straight away that Christ, and Him crucified aa an adjuncb to melodrama is distasteful ia the extreme to mo.

The action of the piece takes place in Rome some thirty yeara after the death of Christ, when Noro'a persecutions of the Naznrene's followers are in full swing. The central tigure of the play ie Marcus Superbus, a profligate young prefect, to whom the Emperor has entrusted the task of wiping oub the Christians. In the first!; ac 6he nurpriaos the Pagan rabble in a brutal attack upon Tariua, a hoary patriarch who baa bean denounced as a Christian. Defying the mob, and shielding its venerable victim, is a beautiful girl, Mercia by name-an orphan, and a convert to the forbidden faith. Marcus disperses the crowd, and orders an escort for the old man and hia companion. But hia vicious inetinebs have been aroused by the fjirl'a beauty, and disguised as a fisherman, Marcus tracks her to Tariua's house, and on finding those gathered there make no secret of their Christianity, warns them of the dangers they run, and implores them to leave Rome. Stephanus, a youth who loves Mercia, is sent oif to alarm the brethren. Me falls into the hands of Aedile, Licinius and Tegellinus, zealous defenders of the gods. They torture the wretched youth, and under the whip and on the ruck wring from him 'the venue of the Christiana' meeting for prayer. AJarcua arrives to eavo him from further ugony. In a grove by the Cestian Bridge the Nazarenes meet, and in the midst of their devotions (carried on with a mighty noise considering the clangorous nature of their occupation) the alarm is sounded, and soldiers rush in upon them. {Slaughter ia the order of the minute, bub Marcus once more arrives upon the scene, stays the flashing swords and roscuoa the lovely Mercia.

The third acb introduces us to the friends and enemies of Superbus. The patrician Berensi* aspires to become his wife, and, learning from certain gossip that eho has a potent rival in Morcia, allows her joalousy to be played upon by JLiciuiua and Tegeliious (anxious lor Marcus's downfall) to such an extent that she lays the facts before Nero by way of his consort Poppea, who herself has a strong partiulitv for the young prefect. Mercia is apoodily condemned to death. The final Heeno of this acb shows Marcus presiding over an orgie of revellers and courtesans. He escapes from the noisy throng to make a fresh appeal to Mercia, who has repulsed all his advancee and otiers of protection. Ilia pleadings are of no avail. If her brethren are to suffer Mercia will share their fate. Upon the interview the roystering crowd breaks in. Mercia is inBulted by the drunken dancing girls led on hy Murcua's mistress Aucaria, but the sound of the doomed Christiana singing in their cells near at hand brings shame upon the wanton horde, who retire, leaving Marcus and Mercia alone. The lights are lowered, and Marcus endeavours to obtain by foice what his persuasions have fai ed to secure. Mercia, however, whips out a little crueitix, the limelight falls upon her taco, and her would be seducer cowers ab her feer, bvflidd and impotent before the sign of Christ.

In the last act we soo Nero'a courb, where Marcua makes a final appeal for Mercia, and obtains a provisional pardon for her it she will ronounco her faith. VVe ccc the lynching of the spy upon whoso information the same bloodthirsty crowd tireib'sefc upon tba Christians, and then comes the end. In the dungeon outside tho Am phitheatre the martyrs are assembled and parcelled out for their several fates. Some are for the gladiators, gome for the beasts, and some are reserved for soaking in oil and hoisting upon poles as human torches. Singing tha praise? of Chrisb these hapless creatures go forth to their doom. There is a harrowing scene between Sfephanus and Msrcia, tho former expressing horror ab bis fate and showing signs of a denim to recant. Mercia recalls to him the memory of the Saviour who died for him, and strengthened by her words Stephaous goeß boldly to the lions, and Mercia is left alone. Marcus rushes in find appeals to her to renounce her faith a,nd save herself. 'Be my wife !' ho pleads. 'Your brue wedded wife?' asks the girl. And we learu then that Mercia haa loved Marcus from tho first, bub nofc well enough to make her denounce Chrisb. She bids Marcus farewell, bub he will nob suffer her to die alone, and declares himself a Christian. Hand in hand they go into the arena to die. So ends the play. The play ia admirably staged, and fairly acted all round, bub Miss Haidoe Wright as Stephanus was the most successful of the principals. Mr Wilson Barrett's style fitted him especially for the, part of Marcus, bub the artificiality of his elocution jars roughly at times. For the rest they did their besb, and worked hard to succeed, bub the ladies of the cast have a painfully up-to-date air about them in spifce oi their Roman get-up. , J