A THEATRICAL "TEMPEST"

Dominion, Volume 11, Issue 85, 3 January 1918, Page 2

A THEATRICAL "TEMPEST"

AND WHAT CAME OF IT

"1 got so sick of coniie opera and the transition I was passing through— tho advent of the low comedian, the gags, and the stunts—l determined to leave it," said Miss Mario • Tempest when asked why she finally decided tu leave the musical stage. "George Edwardes was a very great personal friend of mine, and during tho <l(i weeks of each of tho five playing years J. was with him we were the closest possible pals. At the end of each year came, the question of renewal of cantract. I always stipulated for so much more money, and Mr. Edwardes stuck like a mule. Each time I carried my point. There camo a time when ho wouldn't budge. 1 would go to his office to discuss the matter, but lie would talk upon every .other subject under the sun. At last I said I would get someone to arbitrate. I nominated Alfred.Rothschild, and the wliolo tiling was fixed up in five minutes. But I wanted something moro reposeful than musical comedy. I also wanted to escape from the anxiety of worrying whether I would be in good' voicc or not every evening. I made up my mind that I would like to go into high comedy. ,

"Tt was in 'San Tot' that my opportunity occurrcd. Mr. Edwardes wanted me to wear little silk knee breeches. I had my own idea, of tho costume, hut lie would not listen. So I.put on tho breeches and stuffed my stockings so as to make thorn look Shapeless. Mr. Erhvardes tore his hair when I appeared before him this way-. 'If you aon't wear tho costume I ordered you,' he said wrathfully, 'I shall break your contract.' This was what I wanted and I took him at his word. In vain ho made peace offerings; my mind was made up. Almost immediately I secured a comedy, and in a few years bad my own theatre."

Miss Tempest has had the pick of' English comedies for years, indeed, the English dramatists feel that they would sooner havo her play their central characters than any other modern actress. She lias made success possible in many comedies that were so slight that managers despaired of them. If thore is anything in a play sho will get it out of it. Her note is that of modernity. She is tho finished product of Mayfair, and as 6uch is London's idol.

"There is, however," says Miss Tempest, "a certain penalty attaching to a reputation. I have known it kill a play in my own case. In one of tho best pieces I over had, for instance, I .was scored off all the time by another character. Finally, I lost my lover to my rival, who was a designing female. It was all very truo to life, but London wouldn't have me so treated. They booed the scene in which I was routed on the first night. I oouldn't help loving them for it. However, it was very costly, as I had a large sum of money invested in the nroduction.

"Then again, there is another thing I have to tight. This is the preconceived notion by some dramatists of a Marie Tempest part. It generally takes the form,of a light-weight comedy role, and I have been struggling to depart from this for years. I want a heavier weight comedy, which at tho sanio time does not come within tho category of drama. What I like is a sound first act, a brilliant second, and a serious note in tlm third. I want one scene, at least, that goes beneath the surface. But what is one to do? What my London public want is something: to make them laugh. They don't mind tears of vexation, because that is comedy; hut they object to genuine emotion. and they demand that I shall bo triumphant at the end of the play."