THEATRE ROYAL.

Star (Christchurch), Issue 3, 26 January 1899, Page 2

THEATRE ROYAL.

"THE.SIffiN OF THE CROSS." "What! isr tikis Christianity?" is the query.- of. one ; of the characters in Mr Barrett's play. The problem which was, .no doubt, well, calculated to puzzle pagan Rome, was presented in a different and more attractive guise for Christchurch playgoers '.ast night. The return of the Williamson find Musgrove Dramatic, Company to the Theatre Royal, an event which has been looked forward to for some time past, proved of sufficient interest to fill the house to overflowing in every part. Each of the principals of the company was accorded sin ovation, and, in the case "of Miss Ferrar and Mr Knight, the audience prolonged its welcome to such an extent that the action of the pii-ce was delayed for some minutes; " The fiign of the Cross " is, it need hardly be said, not unfamiliar to the Christchurch public. Since the play was produced here twclvo- months ago, it lias lost nothing of its popularity. It has. rather, gained through' the prestige "accruing from continued; success. As staged last night it did' not differ materially, either as regards cast or incident, from the version that was last produced here. Mr Barrett's work is one of strong and dramatic contrasts, and to thi&fnefc ft probably owes a great part' of ita extraordinary success. A further acquaintance with the play brings these contrasts into, stronger relief.- The first two acts are Goncer»ed mainly with the struggles and privdSoiisY the aims and spiritual triumphs •of the Christian sect;in;the reign of Nero» The- dramatic possibilities afforded by- this pLtl%play. : ,Ai« made the most of ; at tlie very outset, indeed, the attention <A : the audience is secured for the evening. A striking situation is that at the Cestian Bridge where the little band of Christians are taken by surprise while, under a pate moonlight, they kneel around the commanding, figure of their teacher. The scene at the house of Faviua, t&e rescue of Mfercin from the Roman rabble, the treaeWv o{ the spies and the torture of the boy Stephanus, are other incidents which go' to make up an imposing 7>relude. The climax may be said to be reached with the gathering of revellers at the palace- of Here the dramatist has seized the opportunity to give" a stage representation of all the pomp and splendour and outward magnificence that marked the f.ccliiiing diys of Imperial Rome. In vivid contrast to the hovel of the three worshipper is the hall in which art. luxury, wealth and pleasure in its most. voluptuous fornu are brought forward in order to dazzle the senses or dull the conscience of the representative of the new faith. The picture is a very complete one, and it may bo said that the audience last night, whatever they may have thought of the ethics of the singers and dancers of that day, were convinced that they were outwardly very gifted and fascinating people. As on the former occasion, a remarkable dramatic effect was produced ct the close of the act. The Prefect, who finds his scruples rapidly giving way before his passions, falls prostrate before *tliQ up. lifted cross of the Christina, v.hile a ray vi dazzling light breaks fvom above, illumines the face and shin"; && e eyM o f j^j,, aa. --UV-T.S tlie curtain to fol> bn a sni : gularly impressive tableau. After this the way is readily paved for the conversion of Marcus and the throwing in of his let with the Christians. With regard to the closing ."•cones, it ;vcu!d perhaps have been as weft if *Mne of tho mare realistic details had been ie.*s strongly insisted upon, and i* the ar.dience had been spared the oral evidence of the presence 01 stage lions in the background. It ma.v be said, however, that tie fine. acting of Mr Knight and Miss ' Ferrar redeemed the gloom of this particular scene, and brought the action' to an impressive close. As the proud.. but on the whole right-minded Prefect, Mr Julius Knight more than confirmed the good impression which he had already made here. He has played the part nearly three hundred times, but his representation loses notliing of its original force and his attention to dotiiil never flags. In voice, action and bearing he was, as nearly as possible under the circumstances, a patrician of ancient Rome. Miss Ada Ferrar played the part of Mercia with the grace and finish which are never wanting to this accomplished actress, and she also infused into the character the necesSfiry element of religious fervour. The two chief alterations fmin the previous cast were supplied Irv Mr Cecil Ward in the character of Nero, and Miss Ireland in that of Berenice. Mr Ward gave a- lighter and more eccentric, but on the whole, a moiv; i-ttractive rendering of the part than did Mr Porter. Miss Ireland made a stately Berenice, and it is no discredit to her careful and conscientious pourtrayal of the character if it is doubted whether she quite reached the extremely high standard set by Miss Elliot Page. 'Miss Linc'a Raymond was entirely successful as Dacia, and Mr Hawtrey was a remarkably humorous Glabrio. Among a numerous cist may also be mentioned Mr Glassford as Favius, Mr Keightley as Tigellinus and Mr Majeroni as Licinius. " The Sign of the Cross " will be played again to-night.