Mr. Terry is good as the amatory Monk, and Miss Julia Neilson is statuesquely graceful as Hypatia. If I say "she is making strides in her profession," I must be taken to allude not to her vast improvement histrionically, but to the long steps which she takes across the stage.
The costumes are admirable, especially that of Issachar, on whose attire the Messrs. Nathan as Israel-lights-and-leaders must be considered high authorities.
Mr. Alma Tadema, R.A., is responsible for the designs of the scenery by Messrs. Johnstone, Hann, Hall, and Harker. [Great chance for 'Arry 'ere! "Scenery by 'Ann—a lady artist of course—then 'All and then 'Arker, from designs by Halma Tadema." "I s'pose Halma's a artistic shemale," 'Arry would say: "cos I know as there's another Halma on the stage, leastways on the Music 'All stage, and she's Halma Stanley.">[ Whatever the designing Alma may have done, I cannot say much for the reproduction of his favourite game of marbles. The "marble halls" lack polish; but the Market Place, The Court of Hypatia's House, Issachar's snuggery, and a Street in Alexandria, are highly effective pictures. But I should like to know if in Mr. Alma Tadema's design for the Monk's dress, Mr. Fred Terry found a small black and silver crucifix of very modern workmanship suspended from the girdle, as this religious emblem did not come into use until a much later date. By the way, ecclesiastical ornaments must have been cheap in those days to warrant Bishop Cyril (strongly rendered by Mr. Fernandez) flaunting about the streets of Alexandria in such rainbow robes as, in a later age, would have led people to imagine that he had just broken out of the stained glass window of a Gothic Cathedral. Two thousand years hence the New Zealand dramatist may represent the Archbishop of Canterbury as walking about London in his lawn sleeves with coronation cope and mitre, or Cardinal Herbert Vaughan as wearing his scarlet hat and robes, and riding in a Hansom cab, having been unable to pick up his own Cardinal's train. All this were hypercriticism, but that the name of Alma Tadema, R.A., is a public guarantee for academical accuracy.
Anyhow, Hypatia, if not "a famous victory"—is at least a fine spectacle, with some fine acting in it, but this is mainly confined to Mr. Beerbohm Tree. As the very heavy father, Mr. Kemble has not been allowed half a chance. Why should he not alternate characters with Mr. Fernandez, and for three nights a week appear as Cyril the Bishop, while Fernandez would be Hypatia's parent who has to grovel on the steps while his highly educated child is lecturing, who has to comfort her in her terror, and be turned out neck and crop whenever nobody on the scene wants him, which by the way, happens rather frequently.
The music to a Drama is generally a minor affair, but, in this instance, it is both major and minor, and has been specially written for the piece by Dr. Hubert Parry. As this play is not an "adaptation from the French," the music of this Composer is the only article de Parry about the piece, and, being strikingly appropriate, it proves an attraction of itself. It is conducted by the Wagnerian Armbruster, who, with his Merry Men, is hidden away under the stage, much as was the Ghost of Hamlet's father whom Hamlet irreverently styled "Old Truepenny." Altogether a notable piece. Prosit!
The B in a Box.
CHEAP LAW IN THE CITY.
Probable Development of the new "London Chamber of Arbitration," for the economical Settlement of Disputes without recourse to Litigation
