DENNIS BARRY’S “PUCK.”

Waikato Times, Volume 102, Issue 17242, 29 October 1927, Page 17 (Supplement)

DENNIS BARRY’S “PUCK.”

A FASCINATING STUDY. ENGLISH ACTOR LIKES N.Z,

Who says there is not a love of Shakespeare in Hamilton? Several of us left here at 3 o'clock on Tuesday for Auckland, saw “A Midsummer Night's Dream" hy the Allan Wilkie company, and arrived back at 3 o'clock the following morning. And we were agreed that the trip was well worth while.

"A. Midsummer Night’s Dream" was delightful. Mr Wilkie’s ‘‘Bottom" was one of the best things he does, his study of the conceited village actor who was turned into an ass by the mischievous Puck greatly amusing the audience. The rest of the company were excellent. But, to use stage jargon, "it was Dennis Barry’s play.” Mr Barry’s make-up and interpretation of Puck were decidedly original. In a closefitting costume, his face and hands made up green, tils hair flame-coloured, he was a weird and striking figure. And with his agile grace, his artistic posturing; iiis beautiful speaking voice, his expressive hands, what a' vital performance he gave!—the mischievous, malicious Puck, delighting in the confusion of mortals, to the life. Chatting with Mr Barry, I remarked on the originality of his Puck in makeup and treatment. He replied: “I think I have managed to get away from the conventional Puck. After all, fairies

might be anything to look at, and so I tried something which, besides being grotesque, is also attractive. A Stupendous Repertoire. In England Mr Barry appeared as Oberon in “A Midsummer Night’s Dream,” and it is one of his favourite parts. He considers it one of the most difficult in the whole gallery of Shakespearean characters. “Puck,” he said, “is ruled by Oberon, and is ready to perform any task which promises mischief and excitement. Oberon is all command, making swift decision; he loves Titania, is always the master, but withal a fairy—a very difficult part, and I always loved trying to make him live."

Twenty-six parts in thirteen Shakespearean plays —that is Mr Barry’s record. Truly an extensive repertoire. In some of the great bard’s plays Mr Barry has played several characters, evidencing unusual versatility. Bor instance, in “The Merchant of Venice" he has appeared as Bassanio, ' Lancelot Gobbo, the Duke, and Salario; “Romeo and Juliet,” Romeo and Benvolio; “Hamlet,” Laertes and Rosencranz; “Twelfth Night," Feste, Sebastian and Fabian; “A Midsummer Night’s Dream,” Puck and Oberon; “Julius Caesar,” Octavius Caesar, Marc Antony, and Mettelus; “The Tempest,” Ferdinand and Antonio; "As You Like It," Orlando and Silvius; “Macbeth,” Malcolm and The Witch; “Antony and Cleopatra,” Octavius Caesar; “A Winter's Tale,” Florizel; “Measure for Measure, ” Claudio; “Henry VIII.,” Prologue and Surrey.

Refreshing Viewpoint. Mr Barry is ambitious, and in these days when so many players are content to model their performance on that of someone who has preceded them in the role, or to follow tradition slavishly, his viewpoint is refreshing. Of the recent performance of “Hamlet,” in which he'appeared as Laertes, he said: “I didn’t sec any of it, except my own scenes. I do this purposely, because I hope some day to play Hamlet, and I have always made a point with Shakespearean parts of never watching any performance, so that when the time cornes I am quite fresh, and free from all tradition." Mr Barry, who was barely sixteen when he “joined up” for the (treat War, was a member of the repertoire company that gave so much recreation to the army of occupation on the Rhine in early post-war days. His repertoire covers a wide range, from the lightest farce,.to tragedy, by dramatists ancient and modern.

Mr Barry is enjoying his stay in New Zealand, and likes the country and its people. “I really regret that our tour here will end so soon,” he said, “Please believe that I am sincere when I say this. Perhaps you will believe me when I tell you that the fortnight’s vacation I am taking before rejoining the company in Australia will be spent at Christchurch. I love New Zealand, and feel quite at home here.” English As It Should be Spoken. Late arrivals at the Allan Wilkie production of “Henry VIII.” at Hamilton—let us hope no one will be late —will miss the Prologue, given by Mr Barry. And 'o miss that is to miss one of the finest examples of pure English ever heard on a New Zealand stage. To hear Mr Barry speak is to realise the beauty of the English language. Mr Barry also has a very pleasing singing voice. In “Henry VIII.” lie sings “Youth Must Needs Have Dal- j fiance',” the words of which were j written by King Henry. While in, Auckland .Mr Barry has had the pleasure of renewing aequain- [ tancc with Miss Una Dysart, who played with him in “Miss Black’s Son” in London, and who is in New Zealand in holiday witliflier people after have

ing done a 10l of good work on the slage in England. Also in “Miss Black’s Son” was Miss Laura Sniilltson, who was in Hamilton last night in “The Ghosl ‘ Train.” Strange that these three people who were on a London production logelher should meet here “at the bottom of the world,”