SHEAKESPEARE SEASON

Evening Post, Volume CVII, Issue 22, 28 January 1929, Page 5

SHEAKESPEARE SEASON

"THE MERCHANT OF VENICE"

Mf. Allan Wilkio lias striven hard, long, and courageously to falsify the theatrical dictum that "Shakespeare spells ruin." Cinema stars in thuir courses have fought against him, and have not prevailed. He is one of those determined enthusiasts —faddists, some might impatiently dub ;lieni — who really do ''inspire to greater -heights." Mo is unafraid oi! the loftiness, the difficulty, ilie sanctity of Olympus rind seems set on placing his card in a niche on its highest pinnacle, to bo known now and in years to come as the man who, against amazing odds, made Shakespeare popular. lie began another season in Wellington on Saturday with "The Merchant of Venice," a play that is a certain draw, because in it plot and character are fairly balanced; it abounds in dramatic possibilities; it is exceedingly rich in poetry; its trial scene and casket scene are incidents that always strongly hold the general interest of audiences; and it is a play with a happy ending.

Mr. Wilkie, for reasons of his own, generally assumes the principal parts in all his plays—Hamlet, Macbeth, Wolsey, Mulvolio, Othello, and so on, therefore, on Saturday, took the part of Shylock in "The Merchant of Venice." He made the Jew the dominating character in the play—as many other eminent actors have done before him, presenting Shylock- as a tragic hero, a fascinating study in'psychology (the work of a master craftsman), conspicuous for its dramatic intensity. Mr. "Wilkie showed plainly enough that Shylock was no less sore ■wounded by the perfidy of his daughter than by the loss of his ducats. But the bringing of the Jew so prominently before the onlookers at the play had the effect of overshadowing the merchant Antonio and the waves of'trouble that swept over him, and diminishing interest in the delightful final casket, scene. But the vigorous portrayal of the Jew was Mr. AVilkie's own, and with it he held the audience spellbound. It was less inclined than the "public in the court scene to execrate the man who, for all his malevolence, had been scurvily treated, and especially so by his daughter. Mr. AVilkie's diction was clear and forcible, but some who listened to him may have found his staccato style of delivery a little trying. The fact of the performance of this and of the plays to follow, the- fact that should bo kept in view, like a groat electric, sky sign against a black night is that but for Mr. Wilkie, New Zealand would now see and hoar precious little of the plays of Shakespeare. Tho Portia of Miss Hunter-Walls was satisfying in very many respects. The part likes her well and it fits her 100, without crease or wrinkle. She has personal qualities that make her eminently suitable for playing Portia, and a deep sense of the poetical beauty of the linos which go with that part. Her laughter over the idiosyncrasies of her suitors and at tho deception of her husband over the ring sounded rather forced and hollow. She was at her best in the court scene, which, for all it was provocative of comparisons, was one of the finest things in the performance of the play. Mr. John Cairns was excellent as Antonio, giving a thoroughly sound and workmanlike reading, of the part. Gratiano was the character allotted to Mr. Alexander Marsh, who made of it a lively chattering, irresponsible, Gratiano, the soul of indiscretion. Bassanio, never an easy part to play, was well represented by Mr. Dennis Harry, who delivered his lines clearly and with- a gjjnuino feeling for Wieir beauty when'he commented upon tho caskets and discovered the contents of that made of load. A dignified performance of the duke was that of Mr. William Loekhart. The Magniiicoes supporting him, unfortunately, appeared to be so engrossed in keeping mule as to manifest no interest whatsoever in tho proceedings. The Gobbos, father and. son, were played by Messrs. Vincent Scully and Arthur Kcane respectively. The former in one of the least of tho characters, gave one of the most finished interpretations in the play. Launcclot Gobbo was intended to 'bo a clown, and. Mr. Keano. very properly exercised his liberty to make the part effective. To his credit it has to be recorded that he brought forth roars of laughter by his antics and his reasonings between what to-day might be called himself and his subconsciousness. Mr. John Cameron was cast for Lorenzo, and was admirable in the garden scene with Jessica, "On Such a Night." The parts of the Prince of Morocco (Mr. Milton Siuids), Salarino (Mr. Herbert Sheldrick), Salerio (Mr. Keith Hall), Salanio (Mr. Alan Harkness), were in trustworthy hands.

Miss Mildred Howard as Nerissa was excellent in person, speech, and acting, especially so in her simulated tiffs with Gratiano. Miss Laura Forbes, as Jessica, had, but two brief opportunities for distinction, in the elopement scene and with Lorenzo in the love scene in the garden at Belmont. Of these she made the utmost, occupying her due square inches in the play, but no more. MrvWilkie, as producer, deserved and received the warm applause for his work at the fall of the curtain. Tho play was slightly but judiciously cut, and economy and efficiency went hand in hand in its mounting. Mr. Wilkio has said he believes more in suggestion than in realism in respect to stage settings, and his production of "The Merchant of Venice" on Saturday was proof of this. At the same time the value of illusion was by no means discounted, for the artistic lighting of the simple stage settings, if anything, were calculated to heighten and intensify interest in the play itself, and "The play's tho thing." "Tell me where is fancy bred" was prettily sung by a lady whose name was not in the programme. The incidental music included "The Merchant of Venice" suite of llosse.

This evening "The Merry Wives of Windsor" will be performed, ami for to-morrow the play is "A Midsummer Night's Dream." Mr. Wilkie has promised Wellington seventeen of Shakespeare's plays, and ho can be trusted to keep his word.