The play is extremely well put on, and admirably acted, whilst the thunder and lightning and other meteorological effects are terrible in their perpetual and impressive reality.
At the Garrick Theatre, Mr. Arthur Bouchier had the courage to stem the prosperous tide of “The Walls of Jericho,” in order to produce “The Merchant of Venice” and the fine performances of himself as Shylock and Miss Violet Vanbrugh as Portia, with the environment of a beautiful production, have filled the Garrick for well over a hundred performances.
In our opinion Shylock is quite one of the best things Mr. Bouchier has done, most convincing in its masterly restraint and complex simplicity. And too much praise cannot be given to Miss Vanbrugh who is at her best in the trial scene, when the charm of her voice is heard to the utmost advantage. That experienced actor, Mr. Norman Forbes, affords a splendid study of Launcelot Gobbo, and is well supported by Mr. O. B. Clarence as Old Gobbo.
A happy memory of the early days of the O.U.D.C. is afforded by the fact that Mr. Alan Mackinnon supervised this production, and this carries our thoughts back to 1886, when Mr. Bouchier first dealt with Shylock at the then new theatre at Oxford.
The Vedrenne-Barker management at the Court Theatre continues to enjoy its well-earned prosperity. The plays are interesting and exceptionally well acted, and at present the name of Mr. Bernard Shaw is one to conjure with.
“Major Barbara” is his latest achievement, and if one confesses to a feeling of disappointment, the probable reason for it is that Mr. Shaw has led us to expect so much from him in the way of quality.
Mr. Shaw confesses in the prelude to one of his books, that by one of those little ironies of life which sometimes beset even such clever people as himself, he has only won the right to be listened to by the public after the vein of originality which was once so rich within him has been hopelessly worked out. Of the truth of this, there is in his new play, “Major Barbara,” very conspicuous evidence. The changes are once more rung upon the old theme which served Mr. Shaw in “Widower’s Houses,” and to a certain extent also in “Mrs. Warren’s Profession.” In “Widower’s Houses,” it is a man whose belief in his own honesty and usefulness is shattered by the sudden discovery that his income comes from a polluted source; in “Major Barbara,” the central figure, a woman, is by very much the same process suddenly thrust, as it were, into a moral cul-de-sac; that is to say, she is offered a sum of five thousand pounds which she would give her very soul to take, in order to save the lives of hundreds of starving folk, and at the same moment discovers that this money has been made by industries which cause the very starvation she is attempting to remedy. It is this situation which Mr. Shaw considers strong enough to justify him in putting into his heroine’s mouth some of the most sacred words which have ever been uttered—and it is at any rate a satisfaction to feel that his critics have for once drawn Mr. Shaw into the honest confession that he did himself consider that he had here created a serious and tragic situation. To be quite frank, there cannot be the faintest question but that the verdict in this little dispute must be against Mr. Shaw and with his critics. Mr. Shaw’s idea of a play seems to be that you can dive from the burlesque tosh of “Cholly” from the pantomime of the Greek Professor beating his drum straight into the sublimest realms of tragedy, much as a man can go straight out of the hot rooms into the plunge at a Turkish bath; but, as Dr. Johnson said of some contemporary writer who was at the moment attracting attention, “Sir, it does not do to be odd; you will not be read for long.”
At the Haymarket Theatre Mr. Charles Hawtrey is as delightfully vague as ever in “The Indecision of Mr. Kingsbury,” a play adapted from the French by Mr. Cosmo Gordon Lennox. Mr. Hawtrey is well supported by the author who plays the part of a full-blooded and voluble Frenchman; by Miss Fanny Brough as a distressed dowager; and Miss Nina Boucicault as a much maligned widow, who wins the hand of the undecided Mr. Kingsbury. The story is just strong enough to carry four acts, and there is plenty of fun in it, so that we may credit Mr. Cosmo Gordon Lennox with yet another success.
At the Imperial Theatre Mr. Lewis Waller has replaced “The Perfect Lover” by “The Harlequin King,” a costume play of mediæval romance, in which Harlequin, having in a fit of jealousy killed the heir apparent, proceeds immediately to occupy the throne.
It is a very confiding court in this eccentric kingdom, and the only person who discovers the imposture is a blind old lady, the Queen Mother, who at once finds it out, but for the good of the country consents to crown the Harlequin. As a reigning monarch Harlequin cuts a poor enough figure, and to us it is a great relief when in due course the time comes for him, in order to save his skin, to confess his fraud, and fly the country. Mr. Lewis Waller does the best that can be done for the wretched Harlequin, and Miss Millard is good as Columbina, but perhaps the best performance of all is that of Miss Mary Rorke as the blind Queen: as an example of quiet dignity and perfect elocution her performance is most valuable.