THE H. B. IRVING SEASON.

Press, Volume LXVIII, Issue 14291, 29 February 1912, Page 7

THE H. B. IRVING SEASON.

"HAMLET."

Can the theatre provide any thrill cf expectancy equal to that with which the Shakespeare-lover awaits the riso of the curtain on "Hamlet"? It ;s i compounded of several elements. There | is the eternal interest of the story, an j interest that extends to those who have , not explored tho depths of tho play, j Has not someone said that "Hamlet" [ is the finest melodrama ever written? : In the insult is wrapped the truth that the play has a mo?t powerful appeal even when considered apart from its problems md subtleties. There :n"\ for tho student, all the fascinating gal- ; lories of that wonderful mine to oxploro again under the guidance of liv- ■ ing characters. Romance will tako him by tho hand again and lead him to tho dark abode of tragedy, where good and evil war together, aud tho emotions aro purified through pity. But this is tho case with ''Othello" and "Macbeth"' and other tragedies; why is the anticipation so keen in "Hamlet" ? Partly because of the history of the play on the stage; because it has long boon recognised as tho highest test of the actor's art, and becauso details of wie readings of tho famous Hamlets have come down to us, and aro studied with unflagging interest. But much moro than that, because of all Shakespeare's tragedies, " Hamlet" touches our everyday lifo most closely. ' The. ambition that wades through slaughter to a throne is of ; another world than ours, and we do not feel that there is any possibility of our having our lives blasted by tho . machinations of a villain; but the! tragedy of a will too weak to bear tlio; burden placed upon it, is ono to be j found in mean streets as well as in j palaces, in cottages as well as in j camp. Prince though he is, Hamlet is the most human, tho most lovable, of the central figures in the tragedies. Added to these considerations last | night was the special fact that _. the ' Hamlot of the evening was a distinguished actor, the son of a great father, who was not only one of the outstanding Hamlets of the stage, but by breaking away from old traditions \ profoundly influenced modern concep- ■ tions of tho character. So expecta- , tion stood on tip-too when the curtain j rose. ! When Mr Irving entered, it must •: have occurred to many what an almost I ideal -physical equipment he had for I the part. It is possible, before Hamletj opens his mouth, to feel that he; is going to bo Hamlot, and this was I the case with Mr Irving.' _ All our j ideas of the character (in spite of '"he : Queen's remark) demand a Hamlet of well-proportioned figure, in whoso i keen, intellectual lace is mirrored j tho nobility and sweetness of his charac- i ter. Ho must, in tho best sense .f i that much-abused word, look romantic, ! and Mr Irving, so to speak, brougnt romance in with him. In his first long speech, after the exit of the court, Mr Irving deepened tho satisfying imprc-s sion made oy his appearance. It was delivered with profound feeling, but not a point was strained, and it went straight to the hearts of the audience. Afterwards at times, wh-le his interpretation of the text seemed to be rarely at fault, his elocution was less satisfactory. Mr Irving has mannerisms of voice and i gesture. When he is excited he tavks through his nose, and the more excited ho gets the more he does so. He has sometimes a rather abrupt way ot delivering his lines in places where one wishes for smoothness. Last night he also displayed a slight tendency once or twice to disregard some of his own advice to the players. In fact, it-must bo said that occasionally the actor of the old school peeped out from under the costume of the Prince. But these were but comparatively s.ight blemishes in a very fine performance. The most striking feature of Mr Irving's Hamlet is its intelligibility. The problem of Hamlet's conduct seems to vanish for tho time when he plays the part. He has a clear-cut idea of how it should bo done, and ho presents his version so direcfclv. and with such skill that it can be easily understood. But he sacrifices nothing of the depth of the part in doing so; his art is such that ho can present an intellectual and emotional Hamlet, in which all tho lights and shadows of that wondrously complex nature are revealed, without impairing the directness, force, and clearness of the appeal to the audience. Hamlet's agony of soul on hearing the story of! tlie ghost was very finely conveyed. In the first part of the scene With Ophelia he struck a perfect note of pathos, and when, a moment later, he was pouring out bitter denunciation, he was equally true to his art. We cannot particularise all the admirable points in this most interesting performance, but we would like to mention Mr Irving's rendering of the last scene of "all, his. talks with Rosencrantz and Guildenstern, and his thrilling, acting in the play-scene. Ho spoke those exquisite lines, "Not a whit! We deny augury," perfectly; the man's naturo seemed to shine out like a star. In his conversations with the two courtiers, Hamlet's capacity for friendship, the swift play of his intellect, and his scorn of crooked Ways, were finely emphasised. But the playscene was the. greatest triumph- All eyes followed Hamlot as ho crept, muttering, across the floor, to the King, and tho effect was overpowering when the room was cleared, in ani instant, and Hamlet knelt in triumph on tho throne, looking after tho man of whoso guilt he was now certain. The famous soliloquy on suicide was the only part of the play in which Mr Irving was really disappointing. It sounded quite unimpressive. And in the speech to the players his tone suggested rather too much of tho lecture. It is an old way of speakinc tho lines, and there is much to be said for tho newer method of conveying the ideas not as Prince to actor, but, deferentially, as artist to artist. It is interesting to see that-Mr Irving does not forget to emphasise Hamlet's manliness and capacity for affairs. After all it is possible to exaggerate Hamlet's irresolution and reflection. The Court would not have thought fo much of him as it did had he been a mere philosopher, "sickled o'er with the pale cast or thought." Ho gives us an eager, active, intellectual., noblo and lovable Hamlet, and for it ho should have our best thanks. Miss Dorothea Baird is a long way from being an ideal Ophelia. She spoke her lines clearly and intelligently, but she did not convey tho impression of inexperience and innocence that makes Ophelia such a touching figure. Her curious walk and.bctr rather statuesque attitudes do not help her to success. In the mad scene, however, she was excellent, playing with truo pathos. Mr Frank Tyars's Claudius was distinguished by clear and intelligent elocution. Mr Stanley Howie}-, was a satisfactory Horatio, and Mr Eric Mason a manly and forceful Laertes. Mr Arthur Whitby made Polonius mere humorous than he generally is. As the ghost. Mr Henry Vibart spoke his majestic linos with sonorousness and feeling. Most cf the rest of the support was good. Tho company cannot be called brilliant, hutit acts up to Mr Irving fairly well. The staging was excellent, and the action moved with delightful quickness and smoothness. The dresaca and scenery wero designed in excellent, taste, and thero was nothing to mar the poetry of the play. The house was packed, and tho'frequent applause can have left the visitors in no doubt as to their reception. The play will be repeated to-night and until further notice.