SHAKESPEAREAN SEASON

Otago Daily Times, Issue 18747, 28 December 1922, Page 4

SHAKESPEAREAN SEASON

“THE MERCHANT OF.VENICE.” As on the occasion of his previous visit to Dunedin Mr Allan Wilkie chose “The Merchant of Venice” as his second Shakespearean production. The weather was not inviting last night, but a large audience gathered at His Majesty’s Theatre and followed the performance with the keenest interest and approval. “The Merchant of Venice” has always been among the most popular Shakespeare’s comedies. Jt Delongs to the early part of his second period, and in it he is first seen to rise to the full height of his powers. It is in every way admirably for presentation on the stage, as Mr Wilkie and his company showed clearly enough. It is always classed amone the comedies, for its ending is 'all sunshine, and it certainly abounds in rich and varied Rumour; but there is also a vein of intense tragedy running through it that makes it much inore than a more comedy. It is indeed a marvellous “symphony of grace and fierceness, mercy and vengeance, friendship and love, and fiend-like hate, and wit and humour” Its plot is a masterly interweaving c.f least three distinct stories, and its numerous characters provide many skilfully-drawn contrasts. It 'is so full of wisdom bearing on many problems of life that a wide variety of opinions exist among the critics as to the central lesson which the great dramatist sought to enforce. Fortunately jit is nor, necessary to decide between therrifvand each who reads or sees the play can draw from its rich stores according to his own capacity to learn. The familiar features to which we have now grown accustomed in Mr Wilkie's productions such as the green curtains, the simplicity of scenery, the swift and almost instantaneous change of scones, and the dividing of the play into two parts with a central interval of eight minutes, were again employed with excellent effect. Tire orchestra was a most valuable accessory, lending grace and charm particularly in the moonlight scene in the fifth act. It was never at any time obtrusive. Antonio, the - mild and melancholy merchant, though he gives the play its title, is by no moans the hero; and yet all the characters are seen to group themselves round him as their centre. Shylock, the fierce, embittered Jew, is of far more importance. He is a tremendous tragic figure, in his heroic proportions one of the greatest Shakespeare ever created. The part inevitably fell’ to the lot of Mr Wilkie. The , opening scene with Antonio and his somewhat colourless friends, Salarino and Salanio, seemed to lack conviction, and it was not till Shylock made his impressive entry in the third act —“Three thousand ducats; well”—that the audience was really gripped. From then on the success of the play was complete. The heavy part of Shylock is rich in dramatic opportunities all thoroughly understood by Mr Wilkie, and he thriixed his audience again and again with his por- ■ trayal of the bitter wrongs and the singleminded, passionate lust for revenge of the unhappy Jew. Two of his most noteworthy efforts were in the speech “Signicr Antonio, many a time and oft.' and when he answers Salarino’s question, ' “What’s that good for?” by hurling in his teeth “To bait fish withal!” There was a sensational moment when his remark to his daughter Jessica, “ Perhaps X shall .return immediately,” makes her drop her keys in sudden alarm, and he then carefully scrutinises her face by the light of Ins lantern. The famous trial scene was another dramatic triumph for Mr Wilkie, and the audience followed with tense attention the swift and tenable changes of fortune that strike the fierce' lonely old man just in the moment of his supreme triumph. The pity that perforce goes out to him as ho staggers broken and utterly defeated, but still indomitable in spirit, from the court marks how far we have advanced beyond Shakespeare’s original audiences in humane and rational feelings towards Jews. Even in this scene, however, it would be quite possible to criticise, and Shylock’s half making to spring at Antonio after sentence has been given seemed hardly natural or convincing. Next after Shylock, interest centred in Portia, one of the most glorious women in all literature. Shakespeare’s Portia is «o nearly perfect that it is_ difficult to overpraise her, and yet she is at all 'times intensely and adorably human, and feminine. In spite of its difficulties the part may well be a favourite ambition of actresses. Many would remember the brilliant presentation of it given by Miss Lorna Forbes hero • 18 months ago, and would accordingly regret whatever -mischance prevented her name from appearing in the cast at. all this time. _ Portia was entrusted to Miss Hilda Dorrington, and she certainly did some very good work. Though inclined to speak much too rapidly, she had the dignity and the fine stage presence necessary, aria could at times change to the lighter and brighter mood displayed chiefly in the scenes with the maid Nenssa. She came the searching test of the trial scene satisfactorily, and took her full share in the most amusing pantomime that , brings the whole story to a delightful close. ' Miss Dorrington had excellent support from Miss Pamela Travers as Nerissa, the maid in waiting. Mr Jack Lennon had the part of Antonio, but, probably on account of his tendency to shout, failed somehow to suggest the subdued passive character of the loyal-hearted merchant. Mr Leslie Manners, as Bassanio, the gay, thoughtless, good fellow, who only in emergency is brought to realise how much he owes to his noble friend, was thoroughly satisfying. Launcelot Gobbs (Mr J. Plumpton Wilson) was always a delightful comedian, and must have been responsible for quite half the fun of the evening. His characterisation was really skilful, and he employed plenty of original byplay with happy effect. His farewell to Jessica was an outstanding instance of his success. Another character of no small significance is Jessica, Shylock’s daughter, who sneaks away at night with her gallant Christian lover Lorenzo. Miss Vera St. John mads a charming Jessica, innocent, tender, and true and full of love and laughter. Lorenzo (Mr Frank Moore) and she made the moonlight scene one of idyllic charm and beauty. _ Other smaller parts filled with notable ability and understanding were those of the nompous Morocco (Mr Augustus Neville), the grandiloquent Arragon (Mr Hamilton Henry), and the Duke of Venice, who presides over the trial (Mr William Lockhart). The play was, trimmed in various places to bring the performance to a olose by a quarter to 11. and the transposition of certain of the "scenes seemed actually to help to the clearness and orderly progress of the narrative. The performers were accorded enthusiastic applause at the close, and altogether it may Ire said that the whole production was well no to the distinguished standard associated with Mr Wilkie’s name. ' Tlie play selected for this evening is that brilliant, sparkling comedy “Twelfth Night.”