THE THEATRE.

Dominion, Volume 1, Issue 140, 7 March 1908, Page 12

THE THEATRE.

(By " Sylvius.")

"Tho world's a' thoatre, tho earth a [ stage."—Heywood. Georgp Ill's Theatrical Tasto. , George lll,.like his eldest son and grandfather, perferred comedy to tragedy. George IV could not bear "the harrowing 'of tlie heart" that Kean's "Othello" gave him. A now comedy of Cumberland attracted His Majesty George 111 and Queen Charlotto to Covent Garden about 1778; it was entitled "Tho Mysterious Husband," and Henderson acted tho hero. It proved to be ono of the serio-comic dramas then in vogue; and in tho last scene the principal character dies. Henderson's dolincation was perfection. His Majesty's attention was riveted to tho stage; but ho at length exclaimed, "Charlotto, don't 100k —it's too much to bear!" The play, by Royal desire, was never repeated. Henderson's countenanco was of the , same order^as' Macready's—flat, but capable of great variety of expression. His imitations of his contemporaries might justly have becn- . termed impersonations or identifications—the look, tone, carriage, expression, even the thoughts ill extemporaneous dialogue, wero those of tlie individual he represented. Henderson, though not an imitator,^was in the ■ school of Garrick; 3oh» Kemblo in,,-that of -Barry; or rather of Quin; for Barry was only a graceful disciple 'of the Quin. school of oratory. A Repetition Cenerale. " •: Theatrical managers, playwrights, and dramatic critics, on this and the other side of the Channel, says the London "Daily News," aro awaiting with no littlo curiosity 'the result of the proceedings instituted by M. Sardou against the popular Paris paper, "Le Matin," to dccide whether-the publication _of a notice of a play before itp first public prejudicial, to the author arid tho producer. ' It is tho usual custom in France for- managers to.invite dramatic, critics to the "repetition generale," :or filial rehearsal, of a new production. Tt is equally traditional, among dramatic critics, to defer commcnt until the premiere; has actually taken place, a, . tradition that has boon rigorously hqnoured hitherto .by all newspapers. ' ' "Lo Matin" thought fit to violate the time-honoured rule, and published a criticism of M; Sardou's. ■ "Affairo des Poisons" on tho morning following the dress rehearsal; that is to say, twenty-four hours' before any other .'paper' in Paris. . Several leading London aotor-managers have con- . demiicd the position taken ', up: •by". "Le Matin." "It cannot bo justified," said Sir Charles Wyndham.-- "If a critic- is invited, to attend a rehearsal. of a ' play lie; is fully aware that he must' not .publish a notice of the performance until after the usual firstnight. It is not a written .'law, : but it is established as usage and should be .Scrupulously respccted." "A revolutionary step to be.greatly deplored," was Mr. George Alexander s comment. "So far iis I .am concerned," he added, "my object in ' giving repetitions ■ generates at ' the St. James'? Theatre was principally to suit the convenience of the Press, It had been argued with mo by critics that newspapers, owing, ,1 believe, to increasing' competition, hadUo go to press much'earlier, and very little timo was-therefore left for tho writers'to deal-adequately with the piece. Tenor twelve i years , ' ago, during Mr; Clement Scotts time, for instanco, such was not the case. "Our .repetitions'gener'ales aro„ well patronised. As a matter of fact, some time before I decided to.introduce tho systenv here, a number:,! of leading .critics' asked me to allow tlioni-to: be presentv at- .tho last re-' hearsal bf -ainy 'play!I; was, about to produce— a request, I ,v found-.-diflicult l .to,-refuse: . Of course, ; l; make it a point -to. inform them that no notice of 'tho. piece' should appear .'in print before the regular firist performance in public. This, intimation, I need hardly add, has over been strictly observed." Mr. Cyril Maude similar. opinion as'to the lnadyisability. of altering .' tho present custom obtaining: between managers and critics For my-part," die said,, "I: never'invite' critics to dress rehearsals: for fear thoy might' 'get a wrong impression of'the play. I hold that they cannot arrive : at any accurate judgment while the piece, as is sometimes tho case at' dress rehearsals, proceeds halting y- and many technical details' have to bo rectified." . ~ ■' '"Edwin brood" Staged. " ! ' , A 'dramatisation of •: Dickens's' 'unfinished novel '.'Edwin Drood" has been!-! staged in .London by Mr. Tree. ■ Dramatisations of .novels, are rarely satisfactory pieces of'iwork (says the Stag(j"j, anil the;task of adapting a book for the,- stage is inore .tjian usually ungrateful when ijhe novel is'an unfinished one, as was "The.Mystery of :Edwin Drood," but six numbers of which had becii published at the .time .of its illustrious author's death. ,lo adapt; ivithout olfence, a celebrated line/ it may 410 • said that Mr. Comyhs Carr has stepped in- whero. others ' feared , to tread';' anu, 111 spite 'of tho .local first-night success obtained 011- the" production of his play Sounded 011 the novel at 'the New, Cardiif on lNovomber 21, it may' bo doubted^"whether, ;ur. Carr s drama will become a popular item' 111 Mr. iroo s repertory, although he. lias .provided the actor-manager'with an effective part, on Mathias . lines, •• in that of John Jasper,, the; Lay Precentor of vCloisterbam Oatnedral, wlj0 _is supposed-to-,murder his nophow, ilidtvm Drood, out of jealous}' caused by his own all-consuming passion, for Rosa Bud,- ward of Mr. Grewgip'us. '.The,cast in'eludes Mr. Basil Gill as Edwin'Drood, Air G. M .'Anson'.as Durdles, Mr. Treo as Jas, per, Mr. William .Haviland as Mr. Grewsious and iliss Augarde'as Rosa Bud.. . Play to (Begin at Midnisht. Mr. Otho Stuart-, the theatrical manager, arranged to, produce a new play-in the London Court Th'eatro "at 12.80 a!.m. onNew I'ear's . JJay," which is quite the most novel depaiture in stage-enterprise ior a-long time a London correspondent). Mr. Stuart arranged to produce on December 31 a new two-act comedy by Mr. George Gloriel, entitled "Four in Family,'' for a scries of special matinees at. tliei Court Theatre, and on or.about the same time he wished to give a supper party. to celebrate Christmas. , As a large proportion of Mr. Stuart's guests would belong to the theatrical, profession, an early, commencement was out of the question, and so Mr. and Mrs. Otho Stuart's ' invitation was issued'to "supper at '"ll'.SO "at : the Court Theatre, with a play to follow, at 12.30, in which-Albert Chevalier, consentwl to appear. .Carriages at .2.30' a.m." - , .: Salvini's "Hamlet." ( The December "Putnam" publishes Sigrior Tommaso Salvini's views of the interpretation of "Hamlet." The; actor, who describes th 6 enigmatical tragedy as a work commenting on the destiny and the, events of ■ our world, says that the artist at first should impress the publici with the beautiful, pure, moral nature,- so full of sentiment, so loving and affectionate, of the Prince, of' Denmark. After the scend with the ghost the dignified and sorrowful-melancholy, inclining towards - gentleness at~ tho beginning of: the play, should be, delicately' transformed into tho impulsive feeling of hatred toward'the King.' ' _ ._ ;•■ . ; Signor Salvini is convinced' that Shcikespearo's aim was to, portray in Hamlet's character the idea that constant thought causes doubt;, in other words, the power of thought, over action: ■ Tho actor does not bolievo there has ever existed, or ever will exist, a man of Hamlet's tcmporamont; and he thinks this may account for tho innumer- . able different interpretations of the character on tho stago. ' At tho opening of tho scene with tho ghost, Hamlet should bo violently excited, lie writes; at tho appcaranco of his father's spirit ho should bo soized with a terrible shuddering. When the mysterious form "bcckous to him ho should follow it as though impelled by. a supernatural force. During tho revalation of his unclo's crimo lie should listen attentively, and witii veneration, as if almost afraid to move. Tho actor should make hjs audienco rcaliso tho seriousness and gravity of the seem without any useless gestures, such as walking up and down tho stage; but as soon as tho ghost Hamlet should feel tho reaction, and in his great i exaltation should call up all his strength to avenge, for his father's sake, Jiis uncle's infamous crimo, Had Shakespeare written his' play in modern times, he would, adda :

Signor Salving have omitted the appcarance of the ghost on tho stage, leaving it to the imagination of the public. ~ The scenogrows far raoro impressive by excluding the gliost from the stage, thinks Signor Salvini. As to Hamlet's insanity, Signor Salvini l says tho mania he assumes is a mixture of truth and illusion, and in adopting it ho has the advantage of being ablo to scrutinise the souls of those who surround him. ■ The great actor often tells tho following anccdoto regarding Hamlet. He was once - booked to play Hamlet ill London, but on his arrival ho learnt that Irving was performing L m the samo play, and ho tliereforo asked his > manager to cancel Hamlet , from his rej pcrtoire, but ho would not do so. One evening, two days before Signor Salvini was I 1,1 tho part, ho bought a ticket for the gallery .and. went to see Irving. He 1 said to himself, "1 will not plav Hamlet!" j l ?°, sec ° lld lie said tho same • ut , n ' act came with Ophelia , and the closet scene with the Queen, ho said » to himself, I will play .Hamlet 1" a Tho; Easter Attraction. f' i ' 3 fortnight ago I referred to!the Julius i- T'f 1 ? Company n S likely to be the Easter 5 theatrical attraction in Wellington. Since , then an alteration has been made in the 3 . itinerary of that 1 company, which is now; to - . Auckland : during the Easter holi--2 u fi' e . Jiaster dates here will be filled f by the veteran comedian, Mr. John I'V Sheri- • dan, and a bright company, who will appear! f I" tho pantomime "Cinderella,", seen" at Sydney during the Christmas holidays. Mr. Sheridan, whose Widow O'Brien- in "Fun on the Bristol," of ten years ago,' was a classic . in broad low comedy, still retains a mar- • vellous. hold on the, Australasian public, ' which is just as strong in Wellington as J anywhere else. 3 "A Modern.Adventuress." • Mr.. Edwin, Geach's new: dramatic com- : pany, which has been appearing at the Cri- . 'terion Theatre, Sydney, for some weeks past, is due at the Opera House on Thursday , noxt. According .to the playbills, the ,comL pajiy will open in an exciting melodrama, " entitled "A Modern Adventuress," a > play ' , with plenty, of life, lovo, and, laughter, that is said to hold the, attention-securely from • the' rise to the fall of, tho curtain. . This drama will be succeeded by "Lured to LonI dori; 55 in which Regent's iCanal representcd by a great tank of real water. The ' company includes such sterling players ( as J. Mjss Ethel Buckley, , Miss Harrie Ireland, ! Mossrs. Max Maxwell, Godfrey Cass,, and \ J. P.-o'Neil. - J - v ; Notes'. . [. ; The Julius Knight—Ola Humphreys com- - bination revived that charming romantic i comedy "The Prisoner of, Zenda" ■at the )■ Theatre . Royal, Sydney, on Saturday last. I Mr. Knight ', appeared as Rudolf Rassendylj Miss Humphreys as Princess Flavia, and I Mr. Harry flimmer as Black Michael. No ■ notices are to hand so far. V" •„ 1 ;• "Veroiiiquc" was hawked about ■in Eng-. ; land for too years. For, six months it lay, ' ili the hands of ail English Duke as reprej ; senting: a syndicate; Then, to flatter,-An,dre Messager, it was done at tho Coronet by a ' French troupe under the auspices of the ' Covent Garden regime, when it drew all ( .London'-to hear it in a language that half . London did : /not understand.- "Les.P'tits . 'Michus was for' four years in the portfolio [ of a London manager and two, years in .tlio i. possession of another beforo anyone would ( look-at it." • ; ' : -~i. '• ! When the Abbey Street; Theatre in Dublin > :Was,,under tljp direction of Mr.--Yeats,'-.'every 'tradition that;came .from the Englisj), boards ; was rigidly . excluded. ■ -Their, first' aim ,was i to restore; to the stage the atmosphere of i repose in which alone can great emotions be i .portrayed. The English actor's perpetual i crossing from right to left,: and back again, , begets a restlessness -in • which , the finer I shades of paspjon r ar& likely to'be lost. . Mr; i Yeats tells 'fe 't'Httt -Ho-''once asked a dramatic i, company -to ;let-him- rehearse thopi in! barrels, so that they might forget gesture, andjiavo C l.theiif . minds free,, for, a while ;to' think; of. i .speech. The.barrels, ho thought, might bo . placed upon casters; ,so that he could move i them from, ; placo to place when the action of i the. play required, it!