“AMOS CLARKE,” AT THE OPERA HOUSE.

New Zealand Times, Volume XXXIV, Issue 5547, 8 January 1879, Page 2

“AMOS CLARKE,” AT THE OPERA HOUSE.

This is the name of the new piece in which Mr. Rignold will appear at the Imperial Opera House to-night, supported by a powerful cast. The following are some of the opinions of the Home Press on the subject of Mr. Rignold’s handling of the principal character in the piece The Illustrated London News says; “ Of Mr. Rignold's acting as Amos Clarke no praise can be too high. The actor and author, duly and deservedly summoned before the curtain, were received with unanimous applause.” The London Saturday Review declares that “the entire Press are unanimous in its praise.” The Liverpool Daily Post adds: “ The inscrutable central figure, Amos, is represented by Mr. George Rignold, in a performance which combines thorough schooling and technical excellence with high poetic feeling. Perfectly dressed, and a master of simple attitude, with a bell-like voice, and a countenance over which emotion passes in natural gleam and shades, always deliberate and artistically selfpossessed, and successful to the last degree in realising by one resource of art or another, the meaning and picturesque capabilities of every "detail of the action, Mr. Rignold carries the weight of the piece with perfect ease and grace. The ordinary speeches of drama are not capable, however of bringing out the grand conflict which passes in the soul of “Amos Clarke.” It would hardly be perceived by the audience, but for Mr. Rignold's remarkable, though unobtrusive facial power.” The Birmingham Daily Mail says ; “ Amos Clarke is one of Mr. Rignold’s greatest characters. It is difficult, without appearing to exaggerate, to express all we think of this extraordinary performance. Mr. Rignold’s first appearance was welcomed by prolonged applause, 'and at the end of every act he was called before the curtain to receive plaudits, which grew more emphatic every ,'time, and culminated at the end of the play literally in shouts of approbation, There is au impressive realism about that tender farewell—‘ The hour has come, and the man is—here,’ as he falls dead, which no one can see unmoved.”