“LOVE’S LABOUR’S LOST,” AT THE COURT.

New Zealand Illustrated Sporting & Dramatic Review, Volume XIII, Issue 773, 29 December 1904, Page 20

“LOVE’S LABOUR’S LOST,” AT THE COURT.

' The production of such a little known play as “ Love’s Labour’s Lost,” at the Court, by Mr Charles Fry and his company of players was an interesting event, not only to the many young people that might have been seen in all parts of th* theatre, but even to the hardened theatregoer. The play, which. Dr. Herford tells us, was produced in 1598, was revised later by Shakespeare for performance before Queen Elizabeth as a part of the Christmas festivities at Whitehall. Soon after the accession of James the First, the play, which had pleasied Elizabeth, was resorted to by Shakespeare’s company to entertain the new queen. In this connection Sir Walter Cape in 1604, writing to Lord Cranborne, says :—“ I have been hunting all this morning for players, jugglers, and such kind of creatures,” but “ they are hard to find. Burbage says there is no new plays that the queen hath not seen, but they have revived an old one called “ Love’s Labour Lost,” which for wit and mirth he says will please her exceedingly.” Notwithstanding the favour shown to the play in Court circles it entirely disappeared from the stage. The one person introduced into the play who will in any way compare with the productions of Shakespeare’s after years is Biron. Coleridge saw in him the original Benedict. This part on Saturday was played by Mr Charles Fry, who cleverly assumed the lightsome disposition and the true spirit of amusing raillery that make the character such a grateful one to play. “ Now step I forth to whip hypocrisy,” says Biron in one of his best speeches and Mr Fry suggested with no little cleverness the mental superiority of the French courtier and soldier, and played the part with the necessary distinction. The fanastical com-

pound of folly and wit in the character of the eccentric Arm ado was cleverly realised by Mr Patrick Munro, whose command of humour was well displayed. Ferdinand, King of Navarre, was particularly well played by Mr Vincent Nello, whose voice and method gave general satisfaction. Miss Frances Sykes had all the charming waywardness that one expects in the witty and affectionate Rosaline, and her speech to Biron in the second scene of the fifth act was given with eloquent fervour. Miss Olive Kennett in the same act and scene also distinguished herself as the Princess of France. Mr Henry Morrell Dumain made excellent use of his opportunities ; and there was much to commend in Mr Hughes Jones’s Longaville, in Mr Ernest Beharold’s Poyet, and in Mr T. M. Cottam’s Mercade. Mr M. J. R. Cane as Sir Nathaniel, Mr Percy Varley as Holofernes, and Mr Vivian Davies as Dull were all blessed with a sense of the humour of those characters ; and Mr C. Frances was broadly eccentric and clownish as Costard. Miss Muriel Strawbridge also treated the role of the country wench Jaquenetta with a humorous breadth that was all to her - credit. Miss Consie Dale as Moth, the page, was quite equal to the rendering of the pretty song, “ It Was a Lover and his Lass,” and Miss Helen Lynden, who represented Spring, introduced “ When Daisies Pied,” from “As You Like It,” with Dr. Arne’s original setting of the verses, first heard by the public on the revival of the comedy at Drury Lane, on December 20, 1740. The delightful number was very sweetly rendered. Mr Edwin Webster, as Winter, also' did justice to “ When Icicles Hang by the Wall.” Miss Marian Blanche and Miss Paula Vialet were also in the cast. The incidental music by Mr H. M. Higgs and other selections were well played by members of the London Academy of Music orchestra under the direction of Mr Ernest C. Lawrance.