ALLAH WILKIE SEASON

Evening Star, Issue 19632, 11 August 1927, Page 3

ALLAH WILKIE SEASON

‘ THE TEMPEST' . Arguments about the date of ‘The Tempest’ and its. order in the list of Shakespeare’s writings do not afflict the literary world nowadays. The belief, one time general, that it was the last of his plays, has died out, and people are not worrying as to its period. Dropped also is the age-long dispute as to the storm, as to whether any histone tempest was in the author’s mind; and th, critics of to-day have ceased to jibe at each other for naming “ the still-vexed Bennoothos ” and Lampedusa as the magic island upon which Prospero and Miranda were cast and lived, for twelve years with the monster Caliban for sole companion. ‘The Tempest ’ is simply accepted a.s a delightful liilosophic creation, full of caprice and imagination, and as such it is occasionally staged by managers who have the energy to explore beyond the common Shakespeare repertory, and can command the services, of a suitable company. Such a. combination of advantages is rare. Until this week no manager has ever produced ‘The Tempest’ in Dunedin. It was. therefore in a spirit of thankfulness that our theatregoers assembled at His Majesty’s last night. And this morning. with minds still occupied with what they saw and heard, they are not oulv grateful for the enterprise of Mr Allan Wilkie and his colleagues in essaying the task that others have shunned, hut appreciative—highly appreciative--• as to tlio results. It was an enlightening and very pleasing presentation on the whole, good enough in its acting to conquer the disadvantage of apologies for the scenery that used to he considered indispensable, employing the renourees that were available to groat intellectual profit, and in that wav encouraging further and closer studv of the text- So that the inclusion of ‘The Tempest ’ in the works produced bv Mr Wilkie in this cit.v is likely to he a decided uplift. Thanks are specially due to the actors all round for care as to the clear delivery of the dialogue. To many juniors present i,t was a new play, and if there nad been much mishearing confusion would have arisen. Take, for Instance. the matter of the dresses alter the wreck - . If the words had been merely mumbled some of the audience might have' wondered. how the robes of the King of Naples and his suite were so spick and span immediately after the sea immersion. Ariel supplies the explanation. It is part of the magic. “On their sustaining garments not a blemish, hut fresher than before. Oonzalo verifies thus: “ Mothinks our garments are now as fresh as when we pul them on first in .Afric.' Miss Cherry a« Ariel and Mr Lockhart as Oonzalo took care that this point was not missed. _ Other instances of the same elucidating process could he mentioned it space permitted. Sucli carefulness in regard to matters that could he governed went a long way towards compensating for unattainable desiderata in the production. Mr Wilkie would no doubt have been very pleased to have made a leature ot the ship scene at the opening if that were possible. As it was not within his power to do so, seeing that the performance was lor one night only, lie frankly and justifiably contented himself with creating the impression of noise and conflict of authority a.s between tlie boat.swain and the nobles. But it served the purpose of setting up the contrast, from the tumult of the tempest to the serenity of the island. Fo in all other respects. The backbone of the plan was in line all the time. Merit was abundant in the individual personifications. Mr Wilkie pictured Caliban os n gorilla-like creature with hideous reality, and was particularly successful in showing how he was influenced by .thoughts that, he ~i.mly r h,nlf ■understood. It was a, mental as well as a physical creation. Mr Cairns imparted to his acting as Prospero ail the required combination of graciousness and dignity, hut now and again spoke monotonously. Mr Barry .gave a nice Borneo touch to the impersonation ot Ferdinand, and it he had pitched his voice, a trifle higher his acting would haev been so much the hotter. Mr Lockhart brought the part ot Gonzalo to its proper prominence, and wisely refrained from advertising Contain as thi virtuous counsellor. Air Keane's Trimulo hardly reached the level of his Autolycus, nevertheless passed muster. Mr Sands is to he tiuinkcfl for a consistent representation of the inebriate Stephano—it was a feature of the performance. M.iss Cherry's Ariel stood out as a most callable performance—full of spirit and charm and lightness—and she sang very nicely, though why she should in ‘ Where the Beo Sucks ’ restore the Shakespearean word “suck” for “lurk” and then sing “sunset” instead of “summer’ might he hard to explain. Miss Mil liter-Watts found Miranda an easy part. Her gracefulness of speech and movement is a big asset in such a par! The orchestra conducted by Air Bradshaw Major helped very much, the ineidontal iniisie being appropriate and most delicately played. ‘ Macbeth ’ is the piece for to-night.