"THE WOMAN -IN-WHITE."

Otago Daily Times, Issue 7316, 28 July 1885, Page 2

"THE WOMAN -IN-WHITE."

Of all Wilkie Collins' novels, " The Woman in White," which first made him kuowu to fame, is perhaps the richest in dramatic incident, and it is rich also in the character of Count Fosco, an ideal villain of new and eccentric design. But for Fosco "The AVoman in White" would probably never have seen the stage, and but for Mr Wybert Reeve's clever impersonation Fosco might never have established himself a firm favourite behind the footlights. There is a well-recognised difficulty in dramatising ■ a novel, even though the story be specially suite;! to stage purposes. There is a temptation to attempt to include too much detail, and thereby render the plot needlessly involved. The situations have also to be cut, contrived and fitted with an eye to practical as well as literary effect. In this play the work of dramatisation has been well executed, and the situations in every act are arranged with very striking "effect. When the whole piece is examined in detail from the prologue to the close of the fourth act, it is. surprising to notice how skillfully so much matter has been compressed into so small a ■ space. Sir Percival Glydes' felonious tampering with the parish register, the connection and. resemblance between Anne Catheriek and Laura Fairlie; the craft of the baronet, and the deeper craft of his aecomlieo aud master, the Italian count; the opposition encountered from Marion Halcomb; the daring and ingenious plot by which the identity of Anne Catherick aud Laura Fairlie is changed; the shadow of danger that closes round the .iron-willed scoundrel Fosco, and his ultimate assassination by the secret brotherhood he has betrayed; ail this is cleverly conveyed in a few short acts. Mr Kccvo's Fosoo is a really striking performance, perhaps more, sinister, or rather less carefully masked, than the Fosco of the story but that is in a measure necessary tor stage effect. It is throughout a vivid and consistent piece of character acting, and is nominated by a latent force that imperatively holds the attention of the. audience. The curu-un fails in nearly every net upon strongly dramatic situations in which Fosco is the central figure, and in sill these Mr Reeve created a deep impression. He was socially line m his interview with Marion Halcomb at the lunatic asylum, in the third act, wherein lie endeavours to prepare her for the discovery she is about to make, and in the nnal scene with Hartwright he again kept the audience breathlessly intent. The company, too, showed specially well in this pieve. Miss Alice Doorwyn in the dual vole of Anne Catheriek and Laura Farfic was called upon for acting or realistic intensity, and she acquitted herself excellently, especially in the not very enticing ujad scenes. Miss distance Deonvyn also played as Marion Halcomb with considerable power and firmness, while Mrs Chippendale, of course, did well in a part which gives her little opportunity—that of Madame Fosco. Mr 11. htewai-fc as Walter Hartwright, and Mr 0. Holloway as Sir Pereival both played usefully and appropriately, and Mr Gladstone gave a necessarily short but very good study of Pesca, the Italian refugee. The smaller parts were also filled satisfactorily, and the mounting of the piece, especially in the prologue and the second act, was ' remarkably good. " The Woman in White" is to be repeated this evon ing.