"EVERYWOMAN."

Otago Witness, Issue 3035, 15 May 1912, Page 61

"EVERYWOMAN."

The play written with a special purpose--apart from that general design which may be assumed to bo at the back of almost every sAage- production— suffers, it ie as a rule admitted, some handicap where the winning of popularity is in question. The play with a purpose, it will be observed, has come to be considered identical with the play with a good' .purpose. There is not much subtlety about the reasons which take people to the theatre, and instruction figures seldom on the list. What is unusual and novel will, however, exercise, a strong attraction, and in the case of a play like "Everywoman" curiosity may well more than outweigh the caution with which so many people approach the region of hometrutns. But assuredly the striking production now being staged at His Majesty's Theatre under Mr J C. Williamson's direction is.something to be seen and heard. It will hold tlie eye and stimulate the mind. If it have not the latter effect, perhaps we had better say with the d'ramatist in his quaint little . epilogue, " Nobody's the blame." Intelligence is a subtle jade, and is somewhat wanton in her choice of abid-ing-places. Perhaps " Everywoman" may be correctly enough described as a morality play brought up to date. In passing, one is tempted to reflect how every now and again the stage harks back to its primeval manifestations. Only the other day Greek tragedy developed itself before a great spellbound 1 London audience at the Covent Garden Theatre. The morality plays represented almost the beginnings of our own drama, and the modern playwright occasionally hazards an excursion back to their principles. The Morality best known to playgoers of the present day remains "Everyman." Among this year's London stage productions was the modern morality play entitled " The Painter and the Millionaire," by Mr H. M. Paull, which was spoken of as a "pleasant" drama. The vogue of ';'Everywoman " has been considerable in America Its author, the late Walter Biowne, has written more than well in an effort the success of which he did not live to see. The language , of "Everywoman" is often beautiful, and finds expression in many passages of uncommonly felicitous quality. If it be said that the "author hae> set as his standard the language of allegory as it is found in the classics, and has fashioned his dialogue with artistic and literary grace, some idea will perhaps be conveyed of his " Everywoman" from the intellectual standpoint. As to the success which he has achieved in associating with the cold truths of the morality theme the life, colour, and' tempestuous humanity of a typical modem drama, opinions may differ. The task essayed here has been one of exceeding difficulty. The lcsult can hardly be considered well-bal-anced. Under the circumstances it is not very surprising that "Everywoman'' develops into a somewhat unusual melange. It presents transitions that create a stago atmosphere difficult for an audience to envelop itself with The allegoric chastity of episode is broken by interludes of comedy, fierce dramatic energy, and an occasional touch of more melodrama. The morality plav is usually short. "Everywoman" in contrast is ambitious in its perspective, and conveys an impression of being spun-out. Tho spectacular appeal which the modern audience demands is, however, itself a noteworthy achievement in this play, which, with all the points it presents for criticism, is a production to be remembered. Its philosophy is unimpeachable Tho theme is simply and clearly enunciated. Like Japhet in search of a father, Everywoman undertakes a pilgrimage in quest of Love, which leads her to some interesting experiences. In tho beginning Youth, Beauty ,and Modesty are he r handmaidens. Nobody is the rather sinister cowled figure who warns her of dangers ahead. In her mirror she beholds Flattery, who speeds her on her quest. Truth and her son Love. she turns her back upon. The stage allures her, and she becomes a " star," but, while Youth and Beauty are welcome in the ohcrus, Modesty is ignomin ously ejected. An initially amusing glimpse " behind tho scenes " at rehearsal is far from flattering to the Stage. Everywoman's managers are Bluff and Stuff. Passion courts her in the guise of Love, ands she is deceived for the time being. Discovering her mistake, she repudiates him

with fierce scorn. Wealth presses hard for her favours, and in the hour of her triumph, when at a theatrical supper she is acclaimed Queen of the Revels-, Beauty lies dying on the couch hard by. With Beauty lost, Everywcman, in a strong dramatic scene, smashes her mirror and vows that Wealth and Youth shall still provide compensation. Dissillusionment follows. Wealth casts her off, and, with a very anaemic-look-ing Youth, she is seen wandering homeless in the "gay white way" of New York. Time appears, and summons Youth away. Alone and helpless, the wretched 1 Everywoman cries " Help—who will answer?" The. reply is" " Nobody," and she shrinks from the sinister figure at her side. Truth, however, makes a timely appearance, and the fourth act closes pathetically and impressively with Everywoman's vow henceforward to follow Truth alone. The play might artistically end here, but it goes on to a fifth act, which gives a happier ending, the further idea embodied being that love has been waiting for Everywoman all this time at her own fireside. The manner in which the play is produced is worthy of high praise. As for the parts in a long cast, they are well allotted arrong the members of a capable company. Miss Hilda Spong's reappearance on the local stage was an occasion of no small interest. As Everywoman the actress had a most exacting role to sustain, but she proved herself thoroughlv able 1o ecpe with its varied requirements. It must be admitted that there is a suggestion of artificiality about the drama as a whole, and the impression first created thereby appeai-s rather to reflect upon the work of Miss Spong in the earlier scenes in which with Youth, Beauty, and Modesty beside her, Everywoman is full of hope and self-con-fidence. . As the drama progressed Miss Spong's impersonation reached an exceedingly high standard of histrionic success. 'The resplendent, triumphant figure of the second and third pets furnished a striking contrast to the humbled and stricken Everywoman of the rest of the drama. Miss Spong held her audience thoroughly in the more passionate episodes, and in inarvellous raiment queened it on the stage to capital purpose, but artistically she perhaps reached her highest point in the simple and pathetic scenes that came later, in which her conception of the requirements of the moment was to a degree admirable. As Nobody Mr William Desmond declaimed excellently the Chorus passages in which the audience is let into the secrets of the drama, and his impersonation generally was highly effective. Possibly Mr Desmond reads his part on irore cynical lines than is absolutely necessary, but there is no doubt that the playwright has Imparted a certain grim sarcasm to the utterances of Ncbodv that requires some definite expression. It is unnecessary to single out many of the subordinate parts for special mention, it being sufficient to say of most of them that they are quite in the picture. Miss Erid Bennett gave a particularly fresh and graceful presentation of Modesty, and Mr John Ralston, as Passion, Bang in a manner showing that he is still the pleasing vocalist of yore. "" Mr George Miller was decidedly amusing as Bluff, the theatrical manager, and there was a certain very appropriate heavy sufficiency about Mr Herbert Leigh's impersonation of Wealth. Conscience, Miss Bene Gold- acted with a fitting timorousness and sang plaintively to the accompaniment of the revellers. Other parts of prominence were successfully taken by Miss Elsie Clarens (Youth), Miss Dorothy Cumming (Beauty), Mis Emma Temple (Truth), and Mr A. J. Patrick (King Love and Witless). The incidental musio is quite an excellent feature of the play, and was written by Mr G. Whitfield Chadwick. It is well adapted to the subject, and the orchestra under Mr Quintrell interpreted it admirably.