Finally, it should be noted that a Swedish travelling company under the direction of the well-known August Lindberg played Hamlet in Bergen on November 5, 1895.
It is apparent, from the tone of the press comment that a Shakespearean production was regarded as a serious undertaking. The theater approached the task hesitatingly, and the newspapers always qualify their praise or their blame with some apologetic remark about "the limited resources of our theater." This explains the long gaps between new productions, five years between Othello (1881) and the complete Hamlet (1886); five years likewise between Hamlet and King Henry IV.
Henry IV in Bjørnson's stage cutting promised at first to establish itself. Its first performance was greeted by a crowded house, and enthusiasm ran high. The press questions the right of the play to the title of Henry IV, since it is a collection of scenes grouped about Prince Hal and Falstaff. But aside from this purely objective criticism the comment is favorable.[III.35]
With the second performance (March 4, 1891) comes a change. Bergens Tidende remarks that it is a common experience that a second performance is not so successful as the first. Certainly this was true in the case of Henry IV. The life and sparkle were gone, and the sallies of Falstaff awakened no such infectious laughter as they had a few evenings before.[III.36] There was no applause from the crowded house, and the coolness of the audience reacted upon the players—all in violent contrast to the first performance. The reviewer in Aftenbladet predicts that the production will have no very long life.[III.37] He was right. It was given once more, on March 6. Since then the theater-goers of Bergen have not seen it on their own stage.
Sille Beyer's Viola (which, in turn, is an adaptation of the German of Deinhardstein) had been played twice at the old Bergen Theater, July 17 and 18, 1861. It was now (Oct. 9, 1892) revived in a new cutting based on Lembcke's Danish translation. Bergens Aftenblad declares that the cutting was reckless and the staging almost beggarly. The presentation itself hardly rose above the mediocre.[III.38] Bergens Tidende, on the other hand, reports that the performance was an entire success. The caste was unexpectedly strong; the costumes and scenery splendid. The audience was appreciative and there was generous applause.[III.39]
The last new play to find a place on the repertoire at Bergen is Romeo and Juliet. This was performed four times in May, 1897. Like Henry IV, it promised to be a great success, but it survived only four performances. Bergens Tidende[III.40] gives a careful, well-written analysis of the play and of the presentation. The reviewer gives full credit for the beauty of the staging and the excellence of the acting, but criticises the censor sharply for the unskillful cutting, and the stage manager for the long, tiresome waits. Bergens Aftenblad[III.41] praises the performance almost without reserve.
And the last chapter in the history of Shakespeare's dramas in Bergen is a revival of A Winter's Tale in the season 1902-3. The theater had done its utmost to give a spendid and worthy setting, and great care was given to the rehearsals. The result was a performance which, for beauty, symmetry, and artistic unity ranks among the very best that have ever been seen at the theater. The press was unanimous in its cordial recognition.[III.42] The play was given no less than nine times during October, 1902. Since then Shakespeare has not been given at Den Nationale Scene i Bergen.
[III.1.] Blanc: Christianias Theaters Historie, p. 51.
[III.2.] Blanc does not refer to this performance in his Historie. But this and all other data of performances from 1844 to 1899 are taken from his "Fortegnelse over alle dramatiske Arbeider, som siden Kristiania Offentlige Theaters Aabning, den 30. Januar 1827, har vært opført af dets Personale indtil 15 Juni 1899." The work is unpublished. Ms 4to, No. 940 in the University Library, Christiania.
[III.3.] See p. 94, note 1.