‘KING LEAR’

Evening Star, Issue 20151, 16 April 1929, Page 4

‘KING LEAR ’

A DRAMATIC TRIUMPH FLOOD SUFFERERS TO BENEFIT Judging from tho large attendance at Mis Majesty’s Theatre last evening, when ‘ King Lear ’ was staged for tho first time in Dunedin since 1886, Mr Allan Wilkie’s kindly thought for the flood sufferers, prompting him as it did to give half the proceeds to the relief fund, should help materially to restore lost comfort to many a home. To the whole of the Allan Wilkie Company the city owes its gratitude for the manner in which its members, strangers within Dunedin’s walls, have given of their very best in this benefit performance. Since there is ample evidence to prove that 1 King Lear ’ is one of the Shakespearean favourites, it seems strange that it lias not been played in Dunedin for such a long time. It has been left to the versatile Mr 'Wilkie to introduce us to this powerful story of filial ingratitude, of wild and unnatural deeds, and of tragic element carried to the utmost limits. Tis tragedy exhibits men everywhere at issue with fate; proud, overbearing, overstrung natures rebelling against tbo restraints of divine and human law, and arming themselves against possible punishment. In ‘ King Lear ’ Shakespeare has not confined himself lo individual characters, for manifold actions arc united, and thus tho substance ol the play gains in richness, extent, and compressed fullness. In Lear full bursts of passions are depicted, and that in this play the audience is transported to an iron age should be felt by one and all—an age in which cruelty in its mod horrid form is shown, in which intri'JfUPS are of a most devilish nature, in 'which ingratitude wears its most glaring colour, and in which rage and fury know no restraint. By no stretch of the imagination can ‘King Lear’ lie regarded as pleasant. Yet, in spite of its seemingly needless cruelty, it is strangely fascinating. Whether in passion, supplication, or madness King Lear is ever the central figure on tin* stage, and even in 1 1 is least eccentric moods lie demands i lie most polished art from the actor who would play his part. Mr Wilkie must he congratulated on the iarc dramatic effect with which ho made the old king live. His portrayal of Lear, in the extremity of old age and desolation, looking back upon a time when he Was every inch a king, when enemies lied before Ids sword, was masterly to a degree. His cursing of Gonoril, Ids pleading to .Regan were equally well done, each being given with line regard to proper feeling and expression. The development of Lear’s character under persistent persecution was a picture painted in such strong colours that one began to wonder if this part were not one of Mr Wilkie’s greatest personal triumphs. The repeated and prolonged applause of the audience certainly made it, appear so The character of Cordelia makes her one of the tenderest of Shakespeare’s creations, bard to understand, yet simple and deal - to tbo.se who feel rightly. The actress who cannot forget that she is acting will never be fit for this part. But nobody could cavil at Miss HnnterWatts’s inierpretation. She endowed it with a kind of ethereal beauty, with a gentle innocence and goodness as little satirical as heroic. By this performance alone she must be rated ns an actress of the highest general talent, for she did not ruin the unaffected grace of Cordelia by a number of theatrical tricks. She was indeed well worthy to represent the Cordelia of whom tho dying Lear says; “Her voice was ever soft, gentle, and low; an excellent thing in woman!”

Miss Lorna Forbes (Gonerd) and Miss Marjorc Carr (Repan) bad unpleasant parts to play, fur it is hard to believe that depraved natures swell as wore possessed by those two hardened daughters of Lear existed even in Britain’s most barbaric; ape. Suitable costuming did much to emphasise the heartless, covetous, sinister characteristics of these shameless daughters. It formed swell a striking contrast with the beautiful white raiment of Cordelia. The difference between the sisters was made perfectly clear, for Miss Forbes managed to translate Goncril's fearful nature which showed itself in cruel undertakings originating in her own brain, whereas Miss Can- made Regan’s evil traits emerge in the train of her elder sister’s, and cause her to develop into an adept at urging on the atrocities of others. Goneril, the more despicable of the pair, was married to the Duke of Albany, whose quiet (lower and resolute manliness were faithfully revealed in the person of Mr John Cameron. As the gloomy, laconic, and powerful Duke of Cornwall Mr Milton Sands made a very striking impression, because be invested the part with the very fieriness and thirst for vengeance which must have been part and parcel of the man who would tear another’s eve-, out.

Finished actor though Mr John Cairns invariably is. it is doubtful whether he has in any other play risen to such gieat heights as in the banished, but still loyal. Fa.rl of Kent. His just and well-founded rage against the enemies of the old King was tellingly conveyed, and his excessive rudeness to Goneril’s peacock popinjay was refreshing in its sheer frankness. Mr Dennis Barry, always eager to bring out all that is best in his allotted lines, scored a distinct success as Edgar, and when acting “Mad Tom” showed what a perfect genius ho lias for doing full iustice to weird roles. Mr Alexander Marsh was e.quallv good as flic sly Edmund, and Mr Herbert Sheldrick caused much amusement by his representation of the strutting Oswald. In cap and hells Air Arthur Keane was seen again in a role which gives him undoubted scope to reveal ability quite above the average. It is a most difficult tiling to be wise in folly before a broken-hearted master. The good. mild,, nncxeitahle Gloucester was faithfully represented by Air William Lockhart, and Air Alan Hark ness conducted himself ns became a King of France. There, was not one weak link in the cast of this grandest of dramas. THE WEEK'S PROGRAMME Air Wilkie announces the last five nights and two matinees of his Shakespearean season, hut there is good fare still to go. To-night ‘ The Merry Wives of Windsor,’ received with such enjoyment on the first night of the season, will he played once more. At the matinee to-morrow ‘Julius Ctesar’ will be presented, and the last opportunity of seeing ‘ Aluch Ado About Nothing’ occurs to-morrow evening. ‘Antony and Cleopatra ’ is to he staged on Thursday, and the delightful comedy of ‘Tire Tempest’ on Friday. For the last day ‘ The Taming of the Shrew ’ holds the hoards in the afternoon, and the farewell performance trill be ‘Henry the Eighth ’ on Saturday evening.