Amusements.

New Zealand Mail, Issue 376, 26 April 1879, Page 16

Amusements.

KING LEAR.

A very large audience braved the cold and stormy weather on Monday night to attend the Imperial Opera House, in order to witness the excellent representation of Shakspere’s “ King Lear” presented to the public by the company which lias been brought here by Mr. George Darrell. We saw many veteran playgoers present who always make a poiut of patronising any representation of the legitimate drama in the hope that something will be placed before them which may equal or excel their reoullections of by-gone days, peopled by memories of Keane or Macready. We honestly beljpve that most, if not all cf them went away convinced that the chief actor, Mr. William C'reswick, is an artist of consummate talent, with the true dramatic lire and enthusiasm moving him throughout his representation During the whole performance it would he difficult to pick a serious fault : the careful study and finish which has been bestowed by the actor on the role of King Lear was apparent from the opening scene. The power of pathos betrayed in the many moving scenes of this somewhat mournful tragedy was such as is seldom equalled, and more than once deeply affected almost the whole audience. Their attention was kept closely rivetted to the business on the stage during the whole play. In the two concluding acts more especially a breathless

interest was displayed. It is well known that the profession value this tribute to their power even more highly than loud and continued applause. It is no doubt true a Wellington audience is never very demonstrative, but a more attentive gathering than the well-filled Opera House contained could not be desired by the most exiycant lover of the dramatic art. The applause was given heartily and frequently, aud both Mr. Creswick and Miss Helen Ashton were repeatedly called before the curtain ; but, speaking with some amateur knowledge of the craft, we venture to say that the best and Rincerest tribute to a dramatist’s power of delineation is the breathless, spell-bound, and absorbiug interest, which especially marked the performance on Monday night. At about ten minutes past eight the curtain rose to the first scene, in which, after the first few lines of introductory matter, almost all the characters are represented. The mise cn seine was simply perfect, aud the rich and magnificent dresses were the subject of general remark ; the scenery also was all that could be desired, and certain it is that the general effect of the acting was enhanced by the perfect fitness of the surroundings. The company as a whole is very strong. The well-contrasted styles of the three sisters, daughters of King Lear, helped to preserve the identity of each one very distinct, and to prevent any confusion arising in the minds of those who were not students of Shalcspere. If a grand picture by one of the old masters of an aged king, with benign features, snowy locks and beard, clad in purple robes edged with ermine, were suddenly to have life infused into it, and, takiug bodily form, were to tread the boards of our Opera House, instinct with dignity aud life, and looking “every inch a king,” the apparition would not be a more perfect embodiment of the part than Mr. C'reswick presents. With a fine bodily presence he combines a voice of much compass, depth, and richness, blended with a quality so rare and so desirable that his great power of pleasing must be held to be iargely due to it. It is this—when his voice is raised to the higher notes called forth by anger or emotion, while equally full of expression, it certainly gains in tone and timbre just at the point where most other voices either fail cr become harsh and strained. The fine character of the benevolent old King who, when spurned and contemued by his ungrateful daughters, is more inclined to weep over their sin thau to upbraid, is too well known to bear description. When, at last, moved to just anger, he vents his wrath in a curse so dreadful and appalling as t® make one’s flesh creep with horror, the wicked ingratitude which has called it forth makes one forgive the bitter animosity of the speaker. The curse of sterility on his daughter, which is demanded, seems a fit punishment for the ingratitude of oae who lias forgotten her filial bond. Solemn invective is seldom heard in English nowadays, but if any person desires to hear one of the most awful and soul-thrilling curses in the mother tongue, delivered with all the force and correctness which training and study can impart to the words, he cannot do better than go to hear Mr. Creswick’s rendering of the passage in the Tourth scene of the first act of “ King Lear,” which concludes:—

If she must teem, Create lier child of spleen ; that It may live, And be a thwart dlsnatur’d torment to her ! Let it stamp wrinkles in her brow of youth : With cadent tears fiet channels in her cheeks ; Turn all her mother's pains and benefits. To laughter and contempt ; that she may Tell how sharper than a serpent's tooth it is - To have a thankless child 1 There were many other points which we had marked for special notice if time and space had permitted, but we find it impossible to make anything like an exhaustive critique upon a first notice. Mr. Creswick was wonderfully pathetic in those scenes in the fourth act in which be appeared as a man bereft of reason, but with a brain harassed by mournful recollections, and capable of giving vent at times to strange disjointed scraps of wisdom, born of the troubles which upset the balance of a noble mind.

Miss Helen Asbton as Cordelia, appears but seldom in the play, nevertheless it forms one of the most touching and calmly beautiful of all Shakspere's female characters. In the first scene her part is hardly a gracious one, and the way in which she is slighted by King Lear, but heartily championed by the Earl of Kent, to some extent distracts the attention of the beholder from the finished beauty of her acting. But in the closing scenes of the tragedy when Lear with a miud restored first recognises the worth and affection of the daughter to whom he had formerly bequeathed “ her truth ” as her sole dower, Miss Ashton’s acting realises all that we have heard of it. In the final scene her simulation of death is painfully real, aud the character is faithfully aud tastefully pourtrayed. The whole cast was most remarkably strong. Miss S. Navaro as Goneril, and Miss Bessie Vivian as Regan, acted well aud with much judgment. Mr. Charles Burford as Edmund, the illegitimate son, aiul Mr. H. H. Vincent as Edgar, the legitimate sou of the Earl of Gloster —Mr. Sterling White as Kent, aud Mr. Harry Power as Oswald, were those whose merits struck u« most. But we hare no desire to withhold praise from others to whom on a first appearance ,we could not devote any special attention. Everyone was pleased, and many were loud in their praises. If asked what we desired to note as faults we should be inclined to press for a shortening of the time, if possible. The play began at 10 minutes after 8, and lasted till 11.30 ; on the first night things do not work very smooth, but we trust the time may be considerably shortened. The sta"e fighting at the commencement of act IT. between the two brothers was a perfect far. e, but in the duel in act V. it was much better. Tho pursuit of Edgar by two supers, without swords Avas laughable, and the audience appreciated the joke, Avhich Avas none the less out of place. So good an actor as Mr. Creswick, worthily supported as ho ia by a really excel*

lent cast, Avell trained, and evidently playing with the full benefit of careful rehearsal, will, we hope, recei\ r e such open-handed patronage as Englishmen ought freely to accord to those who undertake the arduous task of representing the noblest plays of our greatest bard. Lear Avas again performed on the two folloAYiug nights to crowded houses. “VIRGIN I US.” Sheridan Knowles’ grand tragic drama Avith the above title was given at the Imperial Opera House on Thursday night to a large audience, the dress circle ouly being someAvhat scantily patronised. The pieces played by this company are put upon the stage in most excellent style, aud the dresses are grand and exceedingly tasteful. The scenery also is so flue and all the surroundings of the actors so thoroughly iu keeping that it be a real aesthetic pleasure to Avitness the play under circumstances which precluded the spectator from hearing a Avord of the dialogue. In addition to this the stage grouping is managed so Avell that it was commonly remarked, —what a beautiful picture that would make —;by some of the audience during the somewhat sensational scenes Avhich occur frequently throughout this play. The story of Virginius sacrificing his daughter’s life, because of her having been dishonored by a Roman noble, iu the hands of the author of the play, takes a someAvhat different turning. Virginia, the betrothed of Icilius, is claimed by a noble on the pretence that she is the daughter of a woman-slave of hi*, who handed over her offspring to Virginius’ wife to rear as the latter’s oavu child. The charge is uot proved in any Avay. Appins Claudius, the decemvir, Avho lias evil designs agaiust Virginia, sits in the seat of judgment upon the occasion of the trial. He accepts the simple statement of one Avho feigns to have been the slave-mother of Virginia, and desires Virginius to give up his daughter to Caius Claudius, Avho claims her. Virginius boldly accuses C. Claudius of being a pander to Appius’ vice, and rather than give her up slays her in the forum before the seat of justice. The fifth act reveals Virginius as bereft of reason through horror and remorse at his own action ; in his ravings he seeks out the prison AA’here liis daughter i 3 supposed to be immured. Here he finds Appius Claudius, Avho has been removed from the seat of honor as a decemvir, and thrust into prison as a criminal by a justly incensed people. Tlie presence of Appius in the prison presents to the clouded intellects of Virginius a puzzle which he cannot unravel. His fevered brain creates a vision of his lost daughter, Avith locks dishevelled and A r esture torn, standing behind Appins, and in his frenzy Virginius rushes upon the ex-decem\ r ir and drags him off the stage, to re-appear vrith him in the next scene lying dead on the stage. The play closes Avith the restoration of reason to Virginius, brought about by the healing influence of tears, Avhich were made to flow by the sight of the urn containing the ashes of poor Virginia, which is laid before him by the bereaved lover Icilius. All the accessories of the story are necessarily excised from this brief outline ; the Roman earnp, the scenes in the forum, the oratorical addresses to the citizens, are vivid reproductions of Roman life and manners as depicted in history. The view of the Forum, the prison, and the representation of the groups of men mourning over the body of the murdered Dentatus, are each and all effective and beautiful examples of scenic effect. The Avording of the play we are inclined to cavil at, as there is so much grandiloquent talk that it lends an air of unreality to much of the piece. Mr. CresAvick’s acting is very fine, and towards the close of the play it Avould be difficult to suggest any improvement. His grand presence, fine voice, aud splendid physique enable him to give the part of Virgiuius witli much effect, but his conception of the part is rather that of a fiery Italian than of a steru aud stately Roman. For auglit we know to the contrary, Mr. Creswick’s conception may be far truer thau the popular notion, aud in the case of Virginias there is muoh to be said in favor of it. Miss Ashton’s Virginia was a most finished representation of the fair maid of classic history. Mr. Sterling White’s characteristic and poAVerful rendering of Dentatus was perfect in its Avay. He several times in the course of his address to the populace, and during his brave and open criticism before Appius of the bad generalship of the decemvirs drew forth the hearty applause of the audience. Mr. Ellliott as O. Claudius, Mr. Clinton as Nmnitorius, and Mr. Vincent as Icilius, deserve more than a Avord of praise. Miss Vivian’s Servia Avas good, and she Avas deservedly applauded after her touchingappeal to the crowd Avhen she asks them to send their protection to Virginia. There Avas no delay Avhatever during the play, the scenes being changed with the utmost promptitude, aud the intervals between the acts being very short. The play was concluded Avithin a feAV minutes of halfpast ten, and the stage manager must be congratulated upon the taste he displayed and the discipline enforced. We only noticed one defect of any consequence—in the scene in the Forum where Caius Claudius is threatened with violence by the mob he, falls at the font of the seat of judgment, the lictors, Avho are standing by, neither moved baud nor foot to protect him. Mr. Sheridan Knowles has handled a fine dramatic subject in a very tragic-sensational style, there being no less than three deaths oi prominent characters iu the course of the play, hut it gives scope for the display of much talent, and the chief actors are very well supported. It is long since so good a compauy has been before a Wellington audience, and we hope to sec crowded houses during their stay.