SHAKESPEAREAN SEASON

Otago Daily Times, Issue 18751, 3 January 1923, Page 6

SHAKESPEAREAN SEASON

“HAMLET.” “Hamlet” has been well described as unquestionably the most wonderful as well aa the most popular of all Shakespeare’s plays. The interpretation, of it given at His Majesty’s Theatre last night by Mr Allan Wilkie and his company was worthy of the largest audience the building could contain, and added fresh distinction to their notable record of achievement. It is a pity that there wore still vacant seats in the theatre on such an occasion, for a knowledge of “Hamlet” is a liberal education. “Hamlet” is fuller of suggestive thoughts on human life than any other of the author’s works, and its subtleties have given rise to endless discussion and will continue' to do so. Not that the problems are in anysense obtrued. The craftsmanship is much too delicate for that. Nothing could be more simple, natural, and unstudied than the manner in which the events grow out of what precedes, and the characters inevitably develop to their appointed end. “Hamlet” is alive with the very mystery of life itself, and hence it is “for ever, suggestive, never wholly explicable.” iso wonder it has fascinated countless thousands and left its stamp upon our language in a way flint probably no other single piece of literature has done. One cannot open it anywhere without coming across phrases and lines and whole passages “familiar in our ears as household words.” A mere cursory gleaning will servo to jllustrate how rich is the source from which they are culled. It is “Hamlet” that gives- us “For this relief much thanks,” “More in sorrow than in anger,” “Aa to the manner born,” “A custom more honoured in the breach than the observance.” “Words, words, words!” “It out-Herods Herod,” “Brevity is the soul of art,” “Caviare to the general,” “Very like a whole,” “Hoist with his own. petard,’ “Sweets to the sweet,” “It did me yeoman’s service,” “A palpable hit,’ to “wear your rue with a difference,” “Conscience doth make cowards of us all,” and scores more such coinings of genius that will last while the English language endures. There aro some even of Shakespeare’s plays that con be cut down without serious loss, but “Hamlet” is certainly not one of these. It was gratifying therefore that the knife was applied more sparingly last night than in any of the previous productions, and in three hours of action with but one interval almost tho entire play was presented. Mr Wilkie’s production of “Hamlet” in 1921 was a metnorable success, and last night’s performance fell no whit behind that standard. Certain more or less important variations have been introduced during the interva, and as far as memory serves these will all be generally accepted as improvements. As “Hamlet” Mr Wilkie gave another notable demonstration of his powers of memory and the versatility of his gifts as an actor. It is a part in which pre-eminently the actor must bo allowed wide liberty of judgment, and even if one ventures to differ from Mr Wilkie here and there, one can always be certain that so sound a student has good reason for everything he does. With subtlety, skill, and understanding Mr Wilkie powerfully pourtrayed the soul tragedy of the weakwilled prince, who time and again allows “tho native hue” of his resolution to be “sickbed o’er with the pale cast of thought.” His trick of philosophic introspection quite undoes him Unstable as water, the excellency is not for himi, and when he rails on himself as a “rogue and peasant slave” and “ a pigeon-livered ass,” he stirs no desire’ to contradict him. Mr Wilkie managed tho svift, sudden changes of behayious demanded by the part with dramatic effect The opening 'ghost scene, with its many difficulties, was impressively managed; and, indeed, it may be said without reservation that every scene presented succeeded. Yet Hamlet is as inscrutable as the mind of the man that created him, and so Mr Wilkte p resented him. We can no more “pluck out the heart of bis mystery” than could the easdy-bafflod Rosencranty and Guildenstern. In a very powerful scene with Ophelia, when she appears reading a book, Mr Wilkie evidently attributes tho sudden, change of Hamlet from tenderness to bitter hostility to his having caught sight of a guilty movement behind the curtains The interval came just at the close of ihe pilay scone, which Mr Wilkie on-ds with a violent outburst of practically open denunciation by Hamlet, leading to a scene of wild confusion with Hamlet being restrained us in delirium. Each in the audience would have his own preference, but doubtless many would feel that Mr Wilkie’s very best work was done in the scene in which, with ter rible remorseless fidelity, ho reveals his mother’s loathsome crimes to her affrighted gaze. The ever-recurring problem of the prince’s madness was constantly suggested with subtle skill. The part of tho gentle, submissive Ophelia was entrusted to Miss Hilda Dorrington, who did some excellent work, particularly in the earlier scenes. In the famous mad scene she adopted a loudness almost to the verge of violence which, though quite possible, no doubt, scarcely seemed to suggest the quiet meekness and timidity of tho poor, helpless girl. Nevertheless, the naunting pathos of tho figure was undoubtedly effectively conveyed. Once more Mr Augustus Neville was happily cast as tho usurping being Claudius, and gave a very satisfactory rendering of the part. Mr J. Plumpton Wilson’s Polonius, the fussy, garrulous old fool who yet manages to mler some profound wisdom, was admirable. Mias Lorna Forbes as Gertrude, the queen, had a most important part which she filled with no small distinction. She makes every word tell and can act as eloquently as she speaks. Horatio (Mr Leslie Manners) was another part most satisfactorily filled, and as tho Ghost Mr Jack Lennon uttered his lines in fittingly hollow ad measured tones. Mr Frank Moore deserves a word of praise, too, for his Laertes, and Mr Frank Moore as tho First Player was decidedly good. Almost tho only comic relief in tho whole play is afforded in the grave-digging scene, and this Mr Fred Macdonald and Mr P. Vincent turned to excellent advantage It should bo said also that tho intricacies of the final duel scene wore most skilfully and convincingly contrived. At tho close of an entertainment of very high educational value the audience expressed its gratitude in no uncertain fashion, and beautiful floral tributes were sent up to Miss Dorrington and Miss Forbes. The play selected for presentation this evening is the well-loved comedy “The Taming of the Shrew.’’ ' 1