SHAKESPEAREAN SEASON

Otago Daily Times, Issue 18755, 8 January 1923, Page 3

SHAKESPEAREAN SEASON

-HIOHARD HI." Tyranny, oppression, and cruelty have not been unknown amongst the sovereigns who have ruled over England, but from historical records none has shown such utter heartlessness, or been guilty of the atrocities ascribed to “bloody Richard,” the HI Such was the man Air Allan Wilkie presented on the stage of flisi Majesty’s Theatre on Saturday night, using the version of William Shakespeare as to what sort of man Richard 111 was. Historically he was black, and made by Shakespeare even blacker, which course it is quite conceivable may have been followed for stage representation purposes. What happens now is thttt>'t is o villain of the j deepest dye that is selected by the dramatist, and even in the infancy of the drama the same course, to some extent, would probably be followed. Richard was a fine character for the purposes of the playwright, and England’s great poet ha? used the material at ids disposal most effectively. For the sake of that same effect anything, however slight, that can be said in favour of Richard has been carefully suppressed, and everything that could possioly be brought forward to his detriment has been made much of. '1 hat is the legitimate course of the playwright. Extreme virtue mid extreme vice are the two staple quantities of all who write, whether for the stage or in book form, though, in the present day, the novelist does occasionally present a character in which there is a blending of good and evil. It would, however, be difficult to find much to say in favour of the Duke of Gloucester, whose atrocities knew no bounds, despite an acknowledged ability, which was directed into o, wrong channel. Shakespearean plays are always difficult of stage portrayal on account of the frequent change of scene, but the difficulty was overcome very well by the Allan Wilkie Company. It is not question of elaborate stage setting, but the frequency and rapidity of the changes it is imperative to make. Ivitr Wilkie’s depiction of the man—monster would bo the bettor term—was a powerful and convincing one. TlioTe was no misunderstanding the kind of man the actor had visualised—calculating, cunning, hypocritical, subtle, unscrupulous, cruel, bloodthirsty -with the one ambition ever in his mind—to become King of England at all costs and hazards. That was the man -Mr Wilkie set before him, and before the audience in a very realistic form. From an elocutionary point of view his characterisation left practically nothing to bo desired., 'lhe words put into Richard’s mouth by Shakespeare, whether expressive of canting hypocrisy, conciliation, plausibility, arrogance, tyranny, or brutality, were equally well delivered. Those inclined to ba hypercritical would perhaps have preferred to hear that suppressed concentrated vehemence that is. in certain circumstances, a most effective method with the in place of giving that full play to the lungs to which Mr Wilkie mainly confined himself. Be that as it may, it was a very fine exposition of Richard 111 that Mr Wilkie gave his audience. The special difficulty he had to contend against was an inseparable one. His stage presence did not permit of his looking an ideal Richard. He is a rather imposing figure on the stage, and did not wholly succeed in disguising the fact. The deformed hunchback was not there, this being particularly striking the night before Bosworth Field. It was quite a gallant, though desperate, soldier that confronted the spectators, and did Hot not suggest a crippled and deformed man. The oral portion of his work was admirable, whether it was in the opening soliloquoy. "Nov.- is the winter of our discontent,” Richard’s parting remark. ‘T/eave the world for me to bustle with,” or his honeyed phrase. “My heart is figured in rny tongue.” His “asides” were very well made, and rendered pregnant with meaning.. It was a very arresting piece cf woi4c Air Wilkie presented where, the night .before .Bosworth Field, in his uneasy sleep, he sees pass before him the shades of those whose death he has compassed. Mr Leslie Manners’s recital of Clarence’s dream to Brackenbury stood out as an excellent example of elocutionary skill, and Mr J. Plumpton Wilson in the short-lived part of King Edward secured the approval cf the audience. Miss Hilda Dorrington presented the character of Lady Anno Neville very commendabty. She was dignified, and avoided the mistake of overdoing' the ' bitter indictment, of Richard. A welbplayed part was that of_Lord Hastings. taken by Air Augustus Neville, and Mr Fred Macdonald was capable as the Duke of Buckingham. Other parts satisfactorily filled were Elizabeth (Miss Lorna Forbes), the Duchess of Ybrk (Miss Pamela Travers), ‘ Edward, Prince of Wales (Miss Vera St. John), Richard. Duke of York (Miss Phyllis Scully), Catesby (Mr A. Neville), and Brackenbury (Mr Felix Brand). The cast is a long one, including 35 characters. The orchestra provided the music during the evening quite creditably. “ HENRY V ” TO-NIGHT. To-night will be the last opportunity Dunedin playgoers will have for some time to come of witnessing the fanious i historical comedy-drama “Henry the Fifth.’’ Though it bo an historical play, it does not follow that it is true history. It is simply presented as a play, and nothing more, but such is Shakespeare's manner that many are inclined', to base their historical knowledge on the shard’s ploys rather than on history itself, and thereby fall into occasional error. Even the schoolboy believes that the gallant King Henry V octuajly made the speeches which Shakespeare invented. But the ploy is Shakespeare’s most warlike drama —the play in which he gives free rein to all his glorious pride in England the invincible; a play of porfervid declamatory speeches on the part of purposeful England and puissant France of “alarums and incursions” of trumpet calls and herald’s pennons. Shakespeare, being an actor as well ns a poet, has seen how necessary it is to leaven the resplendent pageantry and vocal vainglory with comedy, and so we have cheek by jowl with kings, princes, and knights, those unworthy scoundrels of common clay, Pistol, Bardolph, and Nym, whose vulgar humour brings one to earth at convenient intervals.