Theatre Royal.

Star (Christchurch), Issue 5189, 20 December 1884, Page 3

Theatre Royal.

* " MAMMON." Mr Sydney Grundy is evidently not a performer who can only harp upon one string. Fresh from the rattling, merry sarcasm of " The Queen's Favourite," we are introduced to something as different as could be well conceived. " Mammon " may briefly be described as a most powerful sermon against that auri sacra fames, that accursed thirst for gold, joined to uncontrolled lust for place and power which have brought to ruin many an unscrupulous though able man. Sir Geoffrey Heriott (Mr Vernon) the principal figure in the play, is one of these. He is the type of the unprincipled, clever speculator and financier, and the dramatist pictures him at the zenith of his success, in the day when his sin is just beginning to find him ! out, and again when the hjdeous crash of his ruin leaves him the completc3t wreck. In short the sermon, though powerful, is unpleasing. The hero i9not only unscrupulous, unprincipled, and with hardly a trace of feeling for his wife, but he is proud of his vices to boot. He acknowledges them to himself, but glories in the decision, the energy, the strength of will and mental power that have made him what lie is. For every evil turn of fortune's wheel he has a plan to right himself; reverse he meets with fortitude and iron nerve — nothing can shake his firm belief in himself. There is something grand in this, and one is apt to forget the hatefulness of a character in which are displayed such traits. The one redeeming, bright spob in the blackness of his nature is his love for his daughter, Violet, whose part is most effectively taken by Miss Watts Phillips. That love, which shines clearly through everything else that is base, provides the playwright with a weapon which he uses with telling force. Twice in the play has the daughter to choose between her father and mother. Once she flies to the arms of her mother, who is about to separate from him for evei % , and with whom she must live in poverty and neglect; and again she turns in preference to her lover, who has just in her. hearing accused him of being practically the murderer of his father, one of Sir Geoffrey's oldest friends. By these desertions he is wounded to the quick : they are more to him than his seat in Parliament, the desertion of his friends, the loss of every shilling in the world, and wring his very heart. From all this it will be seen that the play contains a strong emotional element, and gives Mr Vernon full scope for the exercise of his remarkable powers. He plays the part of Sir Geoffrey with a grasp and firmness that lay strong hold upon the imagination, and compel the greatest admiration for his talent for the assumption of widely different characters. In presenting such a clear, vigorouslydrawn portrait of the man, Mr Vernon gives fresh proof that he is a great actor. Everything with him is finished-and perfect. Miss Ward (Lady Heriott) has not a very great deal to do with the action of the play, but her powerful assistance in one or two trying scenes makes it an ! artistic success, such as is very rarely ! witnessed. The second act closes with a most harrowing scene between wife and husband — the former making a touchinglast appeal to his better feelings before leaving him for ever, bhe has left, and the curtain falls on Sir Geoffrey, the lamplight falling full on his agonised face, on which is a haggard look that haunts the memory. One false gesture, one exaggerated tone from either, and that scene would be ridiculous. Both artists played it with a. quiet, earnest power that made it absorbing, and must have left an indelible impression on those who watched it for the i first time. Indeed, the painful silent-.; i into which the whole house was hushed , I for what seemed an age, was proof of iho ; extraordinary hold it took upon the inim.l:" of all. | At the conclusion of the play, JUi-:> i Geiievieve Ward came before the cnrt.i!;i and recited Professor Aytoun's exeoetlimrlv dramatic poem " The Widow of Glcnon.-." Miss Ward gave it splendidly, and wii.li a force and appreciation of every liuo iii:jfc left upon the mind still another evidonco of her peculiar power. But in our opinion the recitation was a mistake from an artistic point of view. To recite anything after any play is a trying. task, but after such a play as " Mammon," in which every feeling has been strung up to its pitch., the recitation and the reciter must alike suffer. If the recitation ■ wore given with the idea that the com- ! paratively small part of Lady Heriott had • not afforded the talented actress sufficient ' scope thoroughly to display her powers, it r was given under a very false impression. ' Genius cannot be hid. Lady Heriott was ! played as no other actress in these Colonies ! could have played it, and for further assertion of Miss Ward's extraordinary talents there was no need.