MR BENSON AND SHAKESPEAREAN DRAMA[20]
[I]
Dramatic criticism in the daily press of London often resembles that method of conversation of which Bacon wrote that it seeks "rather commendation of wit, in being able to hold argument, than of judgment, in discerning what is true." For four-and-twenty years Mr F.R. Benson has directed an acting company which has achieved a reputation in English provincial cities, in Ireland, and in Scotland, by its exclusive devotion to Shakespearean and classical drama. Mr Benson's visits to London have been rare. There he has too often made sport for the journalistic censors who aim at "commendation of wit."
Even the best-intentioned of Mr Benson's critics in London have fallen into the habit of concentrating attention on unquestionable defects in Mr Benson's practice, to the neglect of the vital principles which are the justification of his policy. Mr Benson's principles have been largely ignored by the newspapers; but they are not wisely disregarded. They are matters of urgent public interest. They point the right road to the salvation of Shakespearean drama on the modern stage. They cannot be too often pressed on public notice.
These, in my view, are the five points of the charter which Mr Benson is and has long been championing with a persistency which claims national recognition.
Firstly, it is to the benefit of the nation that Shakespeare's plays should be acted constantly and in their variety.
Secondly, a theatrical manager who undertakes to produce Shakespearean drama should change his programme at frequent intervals, and should permit no long continuous run of any single play.
Thirdly, all the parts, whatever their significance, should be entrusted to exponents who have been trained in the delivery of blank verse, and have gained some knowledge and experience of the range of Shakespearean drama.
Fourthly, no play should be adapted by the manager so as to give greater prominence than the text invites to any single rôle.
Fifthly, the scenic embellishment should be simple and inexpensive, and should be subordinated to the dramatic interest.