"THE BELLS."

Dominion, Volume 5, Issue 1361, 12 February 1912, Page 4

"THE BELLS."

4 n. 13. IRVING AND COMPANY. "Tlio Bolls," a psychological play adapted by Mr. Ix-opold Lewis from "Lo Juif i'olonais," of .Mil, Erckmunn Chat-rain.' Cast:J, I '."'. 11 ' 1 . 18 Mr. ii. li. Irving Christian Mr. Uric Maxon lather Walter Mr. Henry Vilmrt ™ ns „- ■-'• •••••Mr. Tom Ucyiioidn l)r. Zimmcr Mr. Arthur Whitby President of the Court Mr. Frank Tyarn Mesmerist Mr. Arthur Curtin Catharine Miss Helen ltous ! 2 0i!L '' . • Mlfti Aviee Kc-holls Al »icUc Miss Irene Urowno 11. B. Irving, like quite a number of good things, is an acquired taste, lie rame to us in the doleful spirit ami raven habit of "Hamlet," the disconsolate J rinco nf Denmark, and if that performance did not electrify, it was one that was drawn on new and intellectual lines, and was an interesting and consistent conception. In "Louis XI" tine actor gftvo lull vent to his talent as a character actor of remarkable power and originality, and one who is capable of playing on the human emotions with no little skill. This talent was again shown in "jhe Lyons Mail," where, in the dual role of Lesurques and Dubosc 'ho gave a pretty display in temperamental disguising. Finally we come to "The Hells," the play in which the late Sir Henry Irving leaped into-fame in a night. 'After the eerie thrill and emotional storm which Irving the younger created on Saturday evening as Mathias, the re-morse-smitten burgomaster, one can picture tlio father in lhe dawn of his triumphant career on the stage, for had ho not been the son of the revered knight of the sock and buskin, such a performance as 11. B. Irvinij gave would thrust any actor inlo prominence. There is an astonishing demonstration of the fitness of a part for an individual in the performance. Mr. Irving's eccentricities of intonation and enunciation—which unconsciously one soon gets used to—add finish and point to a performance of rare subtlety and magnetism. Even on his entrance, Mr. Irving succeeds in investing the burgomaster with the ghostly chili of apprehension 'that his fifteen-year-old crime will find him out. Some may regard the long sleep of conscience as a weakness in the psychological argument of the play, but it is not so. His dread is born of his intense and abiding love of his daughter Annette, whose future happiness lie strenuously hopes will never be seared by the knowledge of her father's crime. This, together with his experience with the French mesmerist, and genial old Father Walter's revival of the story of the murdered .lew, told on the fifteenth anniversary of the crime —precisely at the same 'hour—finds a weakness in the fast-ageing burgomaster's mental armour, and s.et« the bells jangling in his brain. There is an infinite pathos in tlio scenes with Annette, and the agony of a tortured soul is finely portrayed by the look of mortal terror and mental uncertainty (hat starts from his eyes as the faint hut insistent tinkle of the butchered .lew's sleigh bells interpenetrates the mind. Jn Mathias's recital of the performance of the mesmerist, Mr. Irving Miceeedod skilfully in suggesting the preoccupation and mental aloof-iie.-s that prophesy the crisis, of which the mental tableau of the murder of Hil' •lew in the snow—a scene most admirably presented—is the brcaking-i>oint. The second act discloses the burgomaster as a broken man. His petulant irritability in the scene with the doctor, his enforced gaiety with his women folk, and the musings as he counts over Annette's dowry till .show the tsliuttc.red mind on the brink of the dread abyss. The merry jokes and laughter which accompany the signing of the marriage eontract between Annette and Christian gave a striking background to the stricken Mathias's terrible imaginings. Then, finally, comes the great dream scene, inwhich the burgomaster, under the influence of the mesmerist, gives a dramatic recital of- the manner in which the foul deed was done. This found Mr. Irving at the top of his powers. How stoutly, does he. protest his innocence; that lie .does iibt''lit i ar',:tho*b<slls,..tlint ho is and always has been' honest. His terrified screams of protest as the dull, relentless monotone of the Judge summons the mesmerist; his mouthing* and jibings at Hie "trickster,"'until under mesmeric influence his eyes slowly closo (despite the mental resistance made), the- jaw drops, tlio head falls forward in jerks on the chest—were all part; of a high level of art but seldom attained in Now.Zealand. Tlio recital of the murder .was thrillingly graphic. No one with a love for the higher histrionics can afford to miss 11. 13. Irving in "The Bells." ' Mr. Irving is ably supported. Miss Irene Brown made a charming Annette, acting with maidenly grace, and singing the betrothal song most sweetly. Her . lover, Christian, was gallantly played by Mr. Eric Maxon. Mr. Henry Vibait's matured art found expression in Father Walter's geniality, and Mr. Tom Reynolds —a low comedian of parts—made a homely and companionable Hans. Miss Helen lions played Catharine, wife of the burgomaster, precisely as she played the Queen in "Hamlet"—slie was hard and unsympathetic. Miss Avico Scholtz made a pert and pretly Sozel, and Mr. Frank Tyars droned impressively as the President of the "dream" court. "The Hells" was preceded by the cur-tain-raise: 1 "The Maid of Honour," which is not as well cast as might he. The Irving season—a memorabic one in ■Wellington—will conclude this evening, when "The llells" will lie played once more.