PRINCESS THEATRE.

Otago Witness, Issue 2433, 31 October 1900, Page 55

PRINCESS THEATRE.

" TESS OF THE D'URBERVILLES."

As set forth in the author's prefatory note to the fifth edition of " Tess of- the D'Urbervilles," the great campaign of the heioine begins" after an event in her experience which has usually been treated as extinguishing hgr and the virtual ending of her career and hopes. " The novel," Mr Harcty tells us, in replying to objectors, both to the matter and to the rendering, " was intended to be neither didactical nor aggressive"; but" whatever his intentions may have been, it is not likeiy to be strongly contended that the product of his literary labours is not imbued,, and largely imbued, with both of these elements. TJie story, to use the author's own words, is laid down on the lines of tacit opinion, instead of. squaring with ihe merely vocal forinulre of society. It is just heiein that the essence of dispute will lie, for the premises that there is such a dissonance in popular opinion concerning an accepted social law is hardly likely to go unchallenged. However, the ethical aspect of the work or its didactical features is not the purpose of this article, but rather is it the consideration of the dramatised version of the novel, in the presentation of which the Crane-Power company inaugurated their season at the Prinpess Theatre on Satiuday night. The play opens at " phase the third" in Tess's career, where, after two or three " silent reconstructive years," she is found duly installed at Crick's farm, where she

is brought into contact with Angel Clare, the second man fated to influence her destiny — the unconscious medium of the retribution which lurks in all sin. The earlier phases of her life, wherein she succumbs to the malevolent designs of the bestial-mmded Alec D'Urberville, are inferentially referied to, and now that that mysterious, irresistible human influence, so utterly uncontrollable, so defiant of analytical philosophy, has immeshed her own and Angel Clare's lives, she spends the weary hours in reproaching the weakness of her nature which caused her in the past to throw away her most radiant womanly attribute. She strives hard to conceal the horrifying skeleton in the inner recesses of her heart, as the young fellow pleaded with -hei to make good her avowals of affection before the altar, and despite the insistent warnings of her unsciupulous mother, she resolves to sac everykhing and lay bare her sou] to her lover. Readers of the book will remember how the girl's noble resolve was frustrated by her mother, who abstracts the letter from the window-sill, wheie, with a rose, it was left for Angel, and how Angel, finding only the flower, interprets it to mean an acquiescence on her part to the fulfillment of* his hopes. Under the belief that ho knows everything and has forgiven her, Tess and Angol stand before the altar and pledge their troth to go hand and liand through life unfalteringly. The ingenuous joyousness, unrestrained and irresistible, with which the young girl enters on her .new existence is a foil to the dark and gloomy catastrophe which meets her at the. threshold. Angel has hardly had aa opportunity, when they were first 'together alone, to s-alutp hey as his wife when Nemesis stalks foith. In her childish- glee, Tess is writing her new name, when Angel, examining her' handwriting, observes casually how strange it was he had never seen it before. Like a horrid phantom the truth flashes before Tess's mind, and she realises he knows nothing. The climax of the play has arrived. Tortured and mentally racked with conflicting emotions, her lino of action is suggested by 'a confession he makes that on one occasion he had plunged into a brief period of dissipation. She clutches at the straw as she involuntarily ejaculates, " Angel— -I am almost glad, — because now you can forgive me." He smilingly urges her to go on, and then m solitude, with their hands joined, she tells the story. At first the import of her narrative cannot be realised by Clare. His faculties are partially benumbed. He moves about for a moment in an irresolute-, mechanical manner, and then the full consciousness of- the truth floods his mind. Ho wakes up, as it were, fzora & dieam. He finds tha awakening all the more painful as the spell t-vas pleasing. Abruptly, and without warning, he has been bi ought to realise that the woman he loved and msrried < was an imagmaiy woman, a, feminine ' ideal which never existed— the Tess whom he believed to be inviolate ,as the driven snow and as impervious to the assaults of temptation as the rock-bound headlands to the ocean surge, is not only a very ordinary personality from the world's point of view, but upon whom society has placed its ban, as being guilty of a crime for which ,theie is no pardon. As, but a few moments before he craved her paidon for a similar offence, she no"w throws herself at his feet and begs forgiveness. The idea of .forgiveness for her seems never to have suggested itself tq his mind, and when it is mentioned he 'contemplates it curiously for a moment and then banishes it as preposterous. "Bidding her a .hasty farewell, he leaves the room, and afterward.^, departs for Brazil. Teas goes back to her sordid home, and as years roll by, hope against' hope, fighting' the battle of temptation unceasingly with the man who iirst led her on, the downward -path, wearily arepelling his alluring offers to lift .her out of ier life of squallor and starvation, to. rescue iher mother aud sister from impending ruin, and, with the aid of his riches, to alleviate the condition of. her consumptive brother, till at length the powers of evil prevail. She succumbs to the combined assaults of her own another and the implacable incarnate demon, and is taken away. The usual results ensue. The man soon neglects, then ill-treats her, and when her despair is greatest her husband whom she believes to be dead appears on the scene. The culminating point of her life of unhappiness arrives. The husband had forgiven her and thought she was in happy circumstances, a,nd be came to claim her, too iate. Once more the avenging god had placed happiness and peace just without her reach. In the frenzy of despair she seizes a knife and stabs her treacherous betrayer to the haaifc. Angel learning of the deed "tries to place Tess in safety. He flees with her, and seeks security in the lonely country wastes. The two wander up and down, pursued by the sleuth hounds of the law, till poor Tess ends her days ef liberty on the ancient Stone of Sacrifice at Stonehenge, with the early prospect of her earthly career being wholly extinguished. So justice is vindicated — retribution has befallen the*woman who sinned. The above recital of the leading incidents of the play will enable ttfe reader who has not perused Mr Hardy's book to form-ari idea of its nature. The performance of the piece was witnessed by an audience which, although not occupying the whole of the seating accommodation of the theatre, may fairly be described as numerous, The^interpretation of the piece by the strong diamavtic combination which Mr Williamson is sending through the colony must be regarded as an eminently satisfactory one, Of ihe two members who are at its head, Miss Crane and Mr Power, the former pla7^goers are personally acquainted, with, while Mr Power's reputation as an actor has preceded him. Miss Crane's' name is closely associated with the first performance of " Trilby " some three years ago, and the pleasing recollections of her impersonation of dv Maurier''s famous creation were such as to bespeak for her a very warm welcome on the occasiou of her re-appearance. As Tess of the D'Urbervilles, Miss Crane has a part which affords her far greater opportunities for the display of histrionic ability than that of Trilby. In some respects in the earlier phases of her life, Tess's nature is not unlike Trilby's in as much as ingenuousness and childish innocence are the most fascinating qualities of the composition of both. As time rolls on, however, and Tess has fallen from her high womanly estate, she gradually realises that her life has been ruined — ruined before she^ has tasted of its sweets, and when her past 'acts of weakness come between her and the one man on earth that she feels she loves the blow is a terrible one. Slie has a childish unquestioning love for Angel, and inherently feels that if he goes away a part of her life is as truly gone as if in actual fact she has been deprived of some great physical attribute. The performer then, who essays a characterisation of the part is called upon for a portrayal of the most intense emotions that affect ihe human mind. A delicate, aitistic skill is required to paint, fust the picture of a, despairing childlike girl, who has just learned she has -wantonly thrown away her most prized gift, and next that of a woman who has attained to a full realisation of her pitiable position. A consideration of the different stages in the evolution of such a stormy life will help to a better appreciation of the statement that Miss Ciane presented a study of the part that was at all times realistic and obsorbingly interesting. Her acting reached the height of intense emotional force in the scene whore Tess's husband leaves her and in Hie closing part where she murders her husband. The audience all through afforded unmistakable proof of their admiration of what was a line performance. Mr Power had the thankless part of

the blackhearted roue, who had encompassed, \ trie downfall of the girl. It was a part which' afforded no scope for emotional display, for j D'Urberville was a man" who has very littlei erno'hon in his composition. Ambition he had none, and the pleasures oi l>is life were alone \ those of the world, the flesh., ?nd the devil. He was evidently one of those vho apply a Solve to their conscience in the shape of a bluff, ' frank avowal of their own inherent weakness. " I am bad, was always bad, and shall always be bad," Ke was wont to declare, and his cold, cynical, arrogant spirit found some satisfaction . in the contemplation of his badness. What ! was seen of v Mr Power revealed him to be a remarkably close student of human nature, and portraying its varying phases. v His acting, ir> its quietest and most unpretentious moments', was frequently lit up with flashes remarkably tiue to and particularly was this so in the drunken' scene/towards the finish. Like Miss Crane, he was singled out -.or warm applause. Mr Cecil Ward's Angel Clare was a commendable example of all-xound good acting. His methods arc such as to deeply impress his audience, who did not fail \o give exnression, to their recognition ot their worth. In the scene where his wife reveals her past experience hip pcitrayal of the emotions which overwhelmed him was remarkably effective, as was also hi* acting in the closing parts of the play. Mi, Oily Deering, as th& bibulous, frowsy knight* ' was recognised as an old favourite, and hi& representation may certainly be referred to in . terms of praise. Miss Lilian Wheeler, as • Marian, a hot-blooded gipsy-lik& girl, Miss Eoec Musgrove as a lovable little lad, Misses G-lee- •' son, Taughan, and Spiller as the three daiiymaids, Mr Cyril Keightley as a yokel, all acted their parts in a most satisfactory manner. The staging of the piece was excellent in every- re-, spect, while an efficient orchestra, under Mr' Carl Reidle, played a capital selection of airs. The second pioduction of " Tess of the d'Uibervilles " by the Crane-Power Conroany at the Princess Theatre on Monday evening amply confirmed the general opinion thatibe company is one of the strongest that have visited Dunedin ior a very long time.