THEATRE HISTORY

Dominion, Volume 29, Issue 80, 28 December 1935, Page 17

THEATRE HISTORY

Where the Flame Burns Brightly “Four Years at the Old Vic.,” by Harcourt Williams (London: Putnam). To what extent the community effort at the Old Vic., in London, has been responsible for feeding the flame of British drama during the last decade will probably not be calculated until years later. We are too near to the moving events to assess their value correctly, although conscious of the immensity of the service that brave hearts have done for the English stage, particularly during the years of travail, following the advent of the “talkie” picture, which came almost hand-in-hand with the world’s greatest depression.

All through those years the banner was kept flying at the Old Vic. and notable (theatrical) deeds were done. Harcourt Williams was the producer for Lilian Baylis and her coadjutors during the period from 1929 to 1933, so that no one can write with a surer touch than he about wltat was done during those momentous years, and how it was done, often in the face of adverse circumstances, which would have appalled the less resourceful, less courageous.

It is pleasing to find that in his fascinating volume, “Four Years at the Old Vic.,” Mr. Williams stresses tl.e importance of his having secured John Gielgud for his casts. That gifted young actor (grand nephew of Ellen Terry—now regarded as the “white hope” of the English stage) is now in a position of eminence in the English theatre; but his feet were not quite so sure in 1929, so that, at this distance, it seems that Mr. Williams is deserving of a good deal of credit not only for having secured that young actor in his most malleable years, but for having given to him the opportunity to play some important parts in a manner which brought him distinction and added to the reputation of the Old Vic. Of course the story of Mr. Williams’ years at the Old Vic. is but a phase of the whole. One would like to see the full story in print. From the outset the effort to produce the classical dramas and comedies of England, ancient and modern, was given a flair through the historic halo that rests on the old theatre. Then there was the breaking away from the cramping traditions of the commercial theatre. Doing something for art appealed to many, particularly the younger set of players, and right through they have given good service, and in many instances have created out of the inspirational dust of the Old Vic. places for themselves on- the professional stage, which has brought to some of them honour and not a little pelf. Harcourt Williams is singularly frank in relating his experiences. At first one is inclined to resent the frequent use of letters from his wife, patting him on the back. One wonders why she had to write letters at all. Why not tell him to his face? But that soon passes, when one realises to the full how well the author played his part as producer. What perhaps is refreshing is the generous tributes he pays to the helpful hints given him by Harley Granville-Barker, Bernard Shaw, John Gielgud (who seems to have taken over half the duties of producer as well as principal player in the shows he was concerned in), and Lilian Baylis, that calm, somewhat austere but intensely sane and equitable person, who is the power behind the throne at the Old Vic., and the new Sadler’s Wells.

As most people are aware, grand and semi-grand opera alternated with dramatic performances at the Old Vic. during the Williams regime. That side of the enterprise does not come under the author’s purview; which is why someone must write up fhe modern movement at the Old Vic. in its entirety.