ALLAH WILKIE SEASON

Evening Star, Issue 19638, 18 August 1927, Page 4

ALLAH WILKIE SEASON

‘JULIUS MESAR’ . Success follows success in the pro sent season of Shakespeare at His ivla jesty’s Theatre, and Mr Allan Wilkie cannot but be gratiliecl with the heartiness of tho reception accorded each successive play us it is presented. That the support is thoroughly deserved is freely recognised, but success does not always follow a deserving effort. Last night’s audience again included a fairly large percentage of young folk, whoso enthusiasm was such as to arouse tho hope that a genuine love for the immortal Shakespeare’s works will, by this splendid season that is to close in two days’ time, be firmly implanted in the hearts of numbers of our youthful citizens. Tho play presented last night was ‘Julius Caesar,’ in which occur many nobio lines that aro familiar to most of us who read at all; yet it is a play that has—rightly or wrongly—been adversely criticised as one of faulty construction. But this criticism is largely based upon tho modern idea of working up each act to a strong situation, and an arresting climax at the end of tho play. As he does in numbers of his plays, Shakespeare deals, in ‘Julius Caesar,’ with tho consequences of treachery and wrongdoing, and with tho irony of fate. And life being like that, such a theme is evergreen, lor human nature is tho same to-day, tomorrow, and for over. With modifications of course—for wo do not now employ stabbings and such crude methods in order to remove undesirables from our path; not often, anyway—tho story is an ever-recurring one. Envy and ambition overriding love and good sense; unselfishness giving way to lust lor place and power; tho swaying of “the mob” by persuasive oratory, and finally the return of tho boomerang with fatal results to the thrower. Such things arc taking place all over tho world day by day. it will be remembered that, in the play, the “lean and hungry” Cassius headed a conspiracy against Caesar, and persuaded Brutus, ” tho noblest Roman of them all,”to join it under tho belief that the removal of Caesar would bo for the good of Rome. Caesar is treacherously stabbed by several of the conspirators, but subsequently his friend, Mark Antony, rouses, by a stirring ovation,' tho populace against Brutus, and in tho subsequent war between the two factious Brutus and Cassius, haunted by forebodings, choose death rather than defeat and dishonor, and so is Caesar avenged. Though the treacherous murder of Caesar is to be abhorred one cannot but feel a certain amount of sympathy for Brutus, persuaded as he was against his better judgment hy the wily arguments of Cassius.

The play was splendidly produced and remarkably well acted. Dlany of the scones lend themselves to spectacular presentation, and in this regard nothing was lacking. The uniforms of the Roman soldiers, the dress of tho senators and others, were strikingly effective, while the “mob” scenes—particularly that in which the populace is being worked up to a state of revolution by Mark Antony were exceedingly well managed. And, once again, a noticeable feature of tho acting was the all-round excellence displayed by the big cast of characters. From Brutus and Cassius to the Third and Fourth Citizen; from Mark Antony himself to tho young servant— Lucius; nil displayed thoroughness and expert ability in their respective parts. And every one possessed a pleasing voice.

Mr John Cairns as Brutus and Dir Frank Clewlow as Cassius, two entirely different characters, had _ the most exacting roles, and each acquitted himself splendidly. Dir Clewlow, in tho opening scenes, during which ho was bringing Ms persuasive powers to bear upon Brutus and poisoning tho latter’s mind against Caesear, was particularly good. Mr Cairns, too, lived up to the character of the manly Brutus, who, even though ho yielded, did so with the reservation. “ Let us be sacrificcrs, not butchers”; thus refusing to add a second and useless murder to the list His many passages with Cassius wore also finely delivered. Mr Allan Wilkie’s big scene was, of course, Mark Antony’s speech to the populace, beginning, ” Friends, Romans. countrymen; lend me your ears,” And, working on tlre declaration that he was just ” a plain, blunt man,” lie was entirely satisfactory, even though there may have been a. lack of fire in his delivery of tho splendid words. Dfr Dlilton Sands’s conception of tho part of Julius Caesar was thoroughly convincing. He portrayed dignity, strength, with just the slight touch of arrogance and obstinacy that was required; and his splendid voice lent weight to all Ills lines. The play is, of course, very largely a man’s play; a robust, soldierlystory into which women enter but casually, and, as it happens, ineffectively, neither Calpurnia (Caesar’s wife) nor Portia (Brutus’s wife) prevailing in their attempts to influence their respective husbands. Miss Lorna Forbes and Dliss Hunter-Watts did the little they were called upon to do in these parts with their customary skill. ‘Romeo and Juliet” will be played to-night.