ENTERTAINMENTS.

Taranaki Herald, Volume LX, Issue 143773, 23 April 1912, Page 3

ENTERTAINMENTS.

The modern morality play Everywomau” winch was presented at tile Theatre Royal on Monday mgnt ny tno J. C. Williamson Company, Headed by Mi« a Hilda cpong and Mr. William Desmond, is, to be perfectly candid, a. production that may not appeal to all and yet it is a play tnat everyone should see. As might reasonably ue assumed “Every woman” does not illustrate any new tning. There is no tact that is not age-old and that has not been proved beyond question, out it aims straight at a weak point m female human nature that ta-aes nothing lor granted, that will not learn from tlie stored wisdom of time, and that can only learn bitter truths irom personal experience. The story is told in the broadest generalities, ufmeh are made applicable through the individualisation of qualities. There is shown tho woman who with youth, beauty and modesty as her companions goesSout from her homo on a pilgrimage in'. quest of love, but falls to the strong appeal of Weaitn. Modesty and Truth are east aside. She becomes a success on the sicage and for a time lives in luxury w-iuli youth and beauty still as her companions and surrounded by Wealth, Tlattorv, "Vanity, Vice, etc., but as time goes on and sue loses youth and beauty shokfinds, as so many have found, that wealth loves Youth and boauty more thatsthe woman, and modesty not at all, and'ishe is cast aside. Brought to a recognition of the truth concerning herself and - of the allurements to which she has sfloandoned herself, she returns to her Homo and there finds a true lover. "While the philosophy of the play is fairly obvious the lines have been written in such a way that there is many a shrewd blow struck. Every) lino has its purpose and tells but the parts which sound freshest, and this is chiefly because the point of view is so unaccustomed, are tho words which are uttered by Nobody. He tells what nobody knows and does wiiast nobody does. The strongest feature perhaps of "Everywoman" is tho dramatic use of powerful contrast, an exdmplo is the scene in which Everywoman gives a supper to her intimate friends in. I her luxiously furnished apartments. While wine flows and toasts go round" till finally she is crowned Queen of the Revels, Beauty lies dying at tho.side of the stage and the insistant voice of Conscience sings sadly over tho deathbed. There are strong dramatic moments too, and one sees the end of lihe play with a sudden realisation that the whole thing has been a tragodh. Thee, characters are fis far as possible rather classical in conception because youth, beauty and modesty are nqti easily conceived in modern shape, buttV Vice, Wealth, Vanity, Witless, Bluff!,; Stuff, and their companions of mischief find easy counterparts in the life of| to-day. Miss Hilda Spong, in the title role,* was all grace and daintiness; and in" several dramatic scones her efforts were remarkably fine, but on tho whole her performance on Monday night was somewhat disappointing. She was attended by Miss Elsie Clarens as Youth, Miss Dorothy Lumihing as Beauty, Miss Enid Bennett as Modesty, and Miss Reno Gold as Conscience. These characters were all well selected. Miss Bennett giving a particularly pretty interpretation of the part of Modesty. Miss Gold’s performance was notable chiefly for her singing, which she did evident understanding. Mr. "William Desmond scored an easy success as Nobody. Mr. G. Miller ,was amusing as Bluff, personified as a theatrical manager and his partner Stuff was well played by Mr. Robert White. Mr. Herbert Height played the part of Wealth with skill. Miss Kmma Temple as Truth, Mr. J. Ralston as Flattery and Passion, Mr. A J. Patrick King Love tho First, and Miss Retie Tanswell as Vice were the more prominent of the minor roles.