ENTERTAINMENTS.

New Zealand Herald, Volume XLV, Issue 13690, 5 March 1908, Page 3

ENTERTAINMENTS.

"THE MORALS OF MARCUS."

MANY people probably fail to realise what a wide theatrical. chasm is bridged over by the manager who is enterprising enough, not only to br'ng to "Australasia the latest successes of the London stage, but to form a company of artists who shall be capable of giving such works a proper and efficient representation. If William J. Locke's play, "The Morals of Maicus" (adapted by the author from his own book) had on its first representation in London, received as good an introduction as it did upon its initial production in the colonies by the Herbert Flemimng Company, at His Majesty's Theatre last night, the favourable verdict it received can be well understood. Dramatist, petformers, and producer are to be congratulated alike. The-first-named for a cleverly constructed, dramatically work-ed-out idea, which, though fantastic in conception and undoubtedly laying the coneeiver open to charges of cynicism, is at once original and interesting. The tact that the dialogue of the now play is good literature, requiring, perhaps a liking for tne intellectual in conversation to thoroughly appreciate; that it is permeated with a strange kind of philosophical reasoning, "with classical and sometimes obscure allusions; entities the writer to some literary laurels even, though it may 'be that Ins verbiage will occur to some to be what is termed " high-flown." But the reason for thus clearly is that at least the two leading personages in tile story of the play are of intellectual temperament, and that they are so must necessarily be conveyed in the lines given to them to utter. One does not expect an author to describe his characters as people of intelligence, for instance, and thereupon proceed to set them talking unintelligently. It may be questioned whether everybody who sees this play will unhesitatingly acquiesce in the deductions of the dramatist in the solving of the problem it contains. Probably a number will be of opinion that the outcome of the plot should have been different—that the story should have ended in another way. The whole subject, matter of the piece its treated in a maimer, however, that leaves the onlooker a little uncertain as to whether the writer has not covered a satire ! with a cloak of deepness. The safest plan is to accept it on its surface value, -perhaps, though an aualysis reveals so much more that is worth considering. We have then a fantastic idea 'for the groundwork of the theme. Following it along step by step we are given a development-of story that is accompanied by a development of character. It is the unexpected that ballpens. To a certain point the author shapes an unconventional subject into seeming conventionality—to a given point bus characters act as one ma}' readily enough conceive them actingbut afterwards lie flings conventionality aside, defies it, brings his curtain down upon an unexpected conclusion, and leaves, his audience with something to think : about, and something to argue out when they leave'the theatre. It is all very' cleverly done. The first act and the first portion of the-second pre-, sent themselves as comedy. Then a serious note, is struck, and from that time out there is a different, aspect to be looked at. The third act is highly dramatic in its climax, the last shakes the emotions. To give the merest glimpse of the theme, there is an elderly philosopher and book-worm, Sir Marcus Ordeyne, who is secretly and silently ioved by Judith Mfetinwaring, an unhappily married woman, his ward. To ; Marcus there comesand here the fantasy of idea beginan " unsohphisticated and perplexing child of nature," in the person of Carlotta, a young and beautiful girl, whose origin was a Syrian harem. Friendless, homeless, she appeals to Marcus with eloquent eyes and childish guile. The philosopher goes under to the man, and Carlotta finds a guardian and a home. Marcus forgets his books and* his manuscripts, and falls deeply in love with Carlotta, and this is tragedy for Judith. With the aid of a blase man of the world, Sebastian Pasquale,. Judith, helped by circumstances also, gets rid of her rival for a while, but in the end there is a sad little Carlotta once more pleading to Marcus to take her in. The love that the man had but just declared to Judith to be dead bursts out into flame, and it is the ~ girl whoss smile he has mistaken, for her soul whom he takes to his heart-. The woman who liar, given him her soul, and all but won him,, goes out quietly wi: i all the life crushed out of her, and theie is an end. It is impossible to altogether account for the actions of Marcus, and the ultimate choice he makes, unless it be taken for granted, as has been said, that the pen that produced the character was the pen of a cynic. •; But. be that as it may, it is a powerful pen and a ready one. The play will not be witnessed unmoved, depth will be discerned in it, ulterior intention or not, and it will be recognised on all hands as a clever departure from the well-worn track in matters i theatrical. ■ '■•

11l the title role Mr. A. S. Homewood gives a striking impersonation, his sincerity going far to blind one to the incongruity that attaches to the strange character. Literally speaking the audienc* would sympathise more with the aloof and intolerant attitude of Sir "Marcus' friends were it not that their sympathy is taken final hold of by the actor's convincing interpretation of the parr. Mr. Home wood conveys vividly the mental ami emotional storm that, suddenly at first, sweeps the thinker and philosopher off is feet, then gradually transforms him into a man of flesh and blood' — slave to a passion for a girl apparently his very antithesis. The part is a long and arduous one, but the performer sustains it thoroughly well from beginning to end. Miss Guildford-Quin makes her mark in the role of Carlotta. She has a rare chance in this complex, and unusual type- of part, and there is no denying that she seizes it. Her work is remarkably good, both in the depiction of the guileless innocence and ignorance of the waif, " with the pretty baby face" in the first two acts, and in the stronger situations of the next two. The development of character, the blossoming into womanhood., the acquirement. of wis : dom through sorrow, are remarkably well depicted. Whether in the' portrayal of tho naive gaucherios' of the girl in the early stages*, her winsome grace and cajolling ways, or in the tender earnestness: of the later scenes Miss Quin creates the rule with distinct credit to her abilities'and intelligence as an artist. Miss Beatrice Day presents , a real and impressive - picture of Judith. She strikes the deepest note in the play, and it rings true at her hands. There is a world of feeling and sincerity in her conception, which enforces the admiration of the audience. Mr. W. J. Montgomery, as'the careless reprobate Pasquale, deserves special mention, as do Musses Nellie Mortyne and Joan Blair in less important roles. Mr. Winter Hall, Mr. J. P. Forde, and Miss Elise Clarens are also well cast. The play is beautifully staged, and with,every care for detail. It was enacted last night with noteworthy smoothness for a first production, and its reception was most cordial. "The Morals of Marcus"" will be repeated to-night, and for two following nights.

OPERA HOUSE.

Fuller's new Vaudeville Company again attracted a Large audience last evening. The " turn " of Eva Lee and her Piccanninies was again the most attractive item. Other good items wore presented by Lesso and Rexo, Tod Calloway, and Jennie Johnstone. The last nights of Watts and Lucas and Gortie MoLeod are announced. The management notify the engagement of Hugh Lloyd, bounding rope artist.