THEATRE ROYAL.

Star (Christchurch), Issue 4862, 29 November 1883, Page 3

THEATRE ROYAL.

4 "Anton* and Cdbopatba." A large audience was attracted to the theatre laßt night by the announcement that " Antony and Cleopatra" was to be produced for the firßt time thie season by Miss Pomeroy'fl oompany. Lively .recollections of the exoellence of that lady's acting of the part of the Egyptian Queen, when last in Ohrißtohuroh, Btill survived among playgoers, and oonaequently the dress-circle waa well filled, while the stalls and pit were crowded. Miss Pomeroy on this oooaaion waa scarcely co well supported as wben ahe laat appeared in the character, and, therefore, though the central figure of the play remained as before, the rest of the parts rather lacked their former interest. The history of the ensnaring daughter of Ptolemy Auletea, in so far as it ia followed by MiBS Pomeroy on the atage, is divided into two distinct periods. The first ia that in whioh ahe is at the full pinnacle of all her powers and charms, and is still able to cast a apell over the weak Boman and command his every thought ; the aeoond, tbat in which Antony firat struggles with his infatuation, and finally begins to hate her, and then himaelf, for doing so, and the Queen finds her magio gone. As distinct as are theße two periods, bo oistinot is the manner in whioh Miss Pomeroy brings them beforo her audience. Of the two, we like her best in the firat. In that there ia shown all the intensity of passion, the Eastern voluptuousneaa, the oapriciouanoss and fiery jealousy that must have reigned in the semi- barbaric breast of a woman at whose haud " Kings of men " had knelt aince ehe was aevonteen ; whose self-indulgence had never been stayed, whoae will had never been thwarted. This, and muoh more, whioh would domand an elaborate analysis of her aoting, was pourtrayed by Mias Pomeroy with groat power. Her first soene with the Triumvir and her reoeption of the news that he had married Octavia were moat artistic and studied pieoea of aoting. But in the seoond, to our mind, the conception was not sustained. Cleopatra, under defeat and waning powers, became tender and more softly woman-like. The haughtiness of gesture and commanding mien deserted her, the passionate demand of an .Bastern tyrant gaye place to the requeat of a Western sovereign — in short, a ohange of nature as complete ac that of oiroumatance was suddenly wrought in her. lf this be a true working out of tbe oharaoter, Miss Pomeroy must be acquitted of auy oharge of inconsistency in the playing of it. But surely suoh a quick oomplete transition is against nature. However, it was there, and Miss Pomeroy adhered to it to the end, and aoted it well, the death scene being particularly good. Both parts pleased tho audience, and Cleopatra and Antony wero more than onoe called beforo the curtain. As the last-named member of tbe Triumvirate Mr Elliott played with fair but unequal success throughout, giving a consistent picture of the yielding irresolution of the man swayed by a woman and finally committing euioide. Lepidus and Ootavius were taken by Messrs Hall and Foley, and the aoene in whioh the trio firet meet at Borne waa well given ; the petulance of Ootaviua, the poaoe-making of Lepidus, and the weakness of Antony were all carefully brought out. Mr Foley's difficult task of making the intoxication of Lepidus at the feaat truthful, without being diaguß-.iog, waa fairly performed. Mr Joyce's Bnobarbus was one of the best points of the play, and the the blunt, uncomplimentary old soldier was given to tho lifo ; in f aot, the real " old man " of the company became younger for the evening to muoh advantage, for rarely haß Mr Joyce played better. Tho little Mr Appleton had to do as Bextus Pompeiua, he did well, and Eroa waa also carefully taken by Mr Arrowsmith, hia farewell speech to hie master being most effectively delivored, and earning him a call before the curtain. Ihe MiaBBB Lewis looked their parts aa Char mian and Iraa, the Queen's attendants, and added not a little to tho piotureaqueneas of the situations in whioh they wero engaged, and Miaa B. Lewis gained an encore for her song. Mr Kennedy made a uaeful Mardian. A wordof praise is due for the way in whioh the principal oharaoters were dressed, and for the soenery, most of which was appropriate. But, even bearing in mind the difficulties of mounting euoh a play, tho intervals between the acts must be pronounced inordinately lOBg.