ONE STAGE SET.

Auckland Star, Volume LXVII, Issue 184, 5 August 1936, Page 12

ONE STAGE SET.

UNIVERSITY "MACBETH."

NOVEL INTERPRETATION

Some seasoned Shakespeareans may dislike Professor So well's conception of "Macbeth," as presented in the University College Hall, but then public taste has this century been cultivated to relish many modes and manners which were formerly beyond the pale. The professor eschewed all striving for dramatic effect other than' by the words of the piay. He had his witches screaming and prophesying, but he deprived them both of their sinister cauldron and of their meeting with the dread Hecate. The three apparitions of prophecy at Macbeth's second meeting with the witches—an armed head, a bloody child and a crowned child, with a tree in its hand —became merely voices off-stage. The parade of the eight kings of Banquo's line and the witches' dance all made way for modernity. So also did Great Birnani Wood, although the English army of Macduff and Si ward advanced oil Dunsinane Hill satisfactorily enough. While in the mood for spiriting away Shakespeare's apparitions, the producer removed the ghost of Banquo at Macbeth's feast, and it would be a bold man who would declare that dramatic effect was lost thereby. There are many playgoers who agree with Norman Long that "I like to see a murder when I'm out," and the murder of Banquo off-stage might prove amended Shakespeare to their distaste. Albeit, such patrons were duly grateful to the producer for retaining the slaughter of Macduff's young son and wife and the murder of Young Sivvard, also for losing none of the effect of the slaying of Duncan and his two guards, not to mention a most thrilling duel in mortal combat between Macbeth and Macduff. The latter pursued his enemy off the stage, but returned without a gory head! And in the loss of thatsame token of horror, climaxing the whole piece, rests the symbol of what tlio producer has, done with Shakespeare. He kills many birds with his retention of one symbolic stage set throughout the play. He saves himself from the perils of failing to achieve a convincing atmosphere on such a limited stage; he simplifies his exits and his entrances; he obviates need for huge piles of lumber back-stage and, in the same breath, does away with the bugbear of scene-shifting. How the loss of Birnain Wood must have pleased his producer's heart! And the marvel of it is that the play becomes as real as ever it did; its characters stand out in contrast to their surroundings instead of blending with it, perhaps, but they do stand out.

As many viewpoints will be formed on the professor's conception of characters of "Macbeth" as there are witnesses of his presentations of the play —which will be repeated to-7iight and to-morrow evening. ITis Macbeth, as played by Kenneth Melvin, is even more of a dominating figure than the Bard drew liini, but last night he was over-played. He had 110 quiet moments.

Lady Macbeth was perhaps the most interesting experiment in the character interpretation of the producer. Conceiving Shakespeare's intention that she should be played by a boy—women knew not the "wooden 0" in Great Queen Bess' day—Professor Sewell has made his Lady Macbeth the veriest woman, with her doubting overcome by her insane ambition. Cecil Upton revealed great depths in this role, her sleep-walking scene being easily the most brilliant episode in the entire production.

Banquo was excellent in the hands of P. E. Holmes, and Macduff was even l-etter as portrayed by C. D. Banks. Duncan (N. C. Pilcher), Lady Macduff (Helen Coafes) and the porter (.T. C. Reid) were others who attracted special notice. A word must be reserved for the three witches (Florence Banks, Rona Lewis and Valerie Anderson), who, though under the handicap of having no cauldrcn, yet proved thoroughly convincing.