New-York tribune., 1902-01-19
LONDON DRAMA.
MIR. JOHN HARE'S REAPPEARANCE-A
POPULAR HIT AT THE DUKE OF
YORK'S-OSCAR WILDE AND
BERNARD SHAW AS
PLAYWRIGHTS.
PLAYWRIGHTS.

BERNARD SHAW AS
PLAYWRIGHTS
London. January s.
Adaptations of French and German plays do
not make a promising beginning of the corona
ton year for the London stage. One OF them,
however. presents a veteran English comedian
in mastery exposition of the art of acting.
and 1t has been sweetened and enriched by
translation. Mr.. Sydney Grundy has converted
Labiche's comedy into of the most whole
some and delightful plays imaginable. and Mr..
John Hares acting in "A Pair of Spectacles'' is
not only artistic delight for an evening but
also something to remember for lifetime as
one OF the masterpieces of the English stage.
His temperance at the Criterion Theatre has
been officially heralded as a farewell revival;
but it Is not likely to prove anything more than
a renewal of former successes and an indefinite
prolongatiOn of them. He has been telling his
friends since his return from America that his
work the stage had ended and that he was
well content to stand aside and to allow younger
men to endure the storm and stress OF the pro-
fession; hut it will surely be a long time before
playgOers are willing to allow him to lay aside
Benjamin Godfnch's pair of spectacles when
there is other actor capable of wearing them
and looking through them with fatuous optim-
ism. This plainly the judgment of the first
night audience at the Criterion, where he was
welcomed at once with affection as an old time
favOrite, and with honor as an artist Of fncorn-
parable sincerity and decacv
1t is not necessary to remind American read
ers of the bland smile with which the Iovable
Benjamin Goldfnch at first looks at coacbrnen
walters. buffers tenants shoemakers and rela-
lions. nor of the glare Of suspicion and rage
which takes its place when he borrows the spec
taces or his sordtd and selfish brother from
Sheffield The Transformation from blind credu-
ty to equally blind pessimism is indicated by a
hundred delicate touches in facial expression
voice, bearing. gesture and byplay; and before
the curtain falls the process is reversed and the
optmst's faith in human nature is restored
with quiet and effective realism. There is the
cumulative effect of innumerable small strokes
and miniature processes which can be ade-
quately studied and appreciated by continuous
use of an opera glass. Mr.. Hare's acting is not
only as delicate and refined ever IT was. but
1t challenges comparison with the best work In
comedy on the French stage-even with that OF
NJ. COquelin. that great master of the art Of ex-
preston by face. voice and gesture. All that Is
required in order to rivet the performance per-
manently in the playgoer's memory is an ade-
Quate effect OF contrast between the two Gold
inches. and this is supplied at the Criterion by
the brusque. hard and ncisive acting of Mr.
Charles Groves which in form and spirit is al
most artistic Mr.. Hare's work. Each actor
plays accurately and with fine instinct into the
others hands. and the result is a memOra BILE
performance of exceptional strength. individu-
ality and artistic refinement.
At the Duke of York's Theatre, where an
adaptation from the German OF Ludwig Fulda
is a popular attraction there is fantastic med
ley OF literary impressions. There is Italian
theme attuned to the Decameron. and there is
solid German treatment of il. with passages OF
dense and Opaque humOr. where there should
be a naive and graceful simplicity; and Mr..
Louis " Parker the adapter. has recast the
work into English blank verse which occasion
ally limps and seldom pleases. 1t is pretty
romantic tale OF a womans device for winning
back her husbands affection: and IL has the
artistic environment OF a Paduan palace and
Italian costumes designed by Mr.. Byam Shaw.
Giuditta. the embodiment Of domestic devotion.
honors her neglectful lord and loves her child.
while Orlando neglects his faithful wife and
sends her away to stay with her mother in
Florence when her twin sister. Renata is ex-
pected for a visit. When Renata arrives. It is
Giuditta herself. transformed into a merry romp
fond OF filtration and dancing: and the husband
Is wildly enamoured. and in the end is only pre-
vented from cancelling a distasteful marriage
by the discovery that he has fallen passionately
in love with his own wife. 1t is charming ro-
nance without the sweetness and grace OF a
medieval Italian idyll. The poetry is sacrificed |
in the prosaic German construction and In the |
labored English verse but the acting redeems |
IL and mparts TO II both fascination and dra-
matte interest.
Miss Lily Brayton is the gentle and pensive |
Giuditta masquerading the joyous and froc- |
Renata, and we'll she plays the double |
part. Her apprenticeship with Mr. Benson has |
trained her for the delivery OF blank verse. and |
her work Viola at Her Majesty's Theatre is |
rivalled by her dainty refinement charm and |
variety in this double part, with Its broad ef- |
fects OF contrast Mr.. II. B. Irving Is strong |
and versatile Orlando Miss Brayton is |
winsome and delightful. His style has been |
steadily broadening year by year. but II has |
suddenly deepened and acquired passionate in
tensity in The Twin Sister" His heartiest ad-
mrers and l of them, have not sus-
pected the resources which at his command |
in this piece. Without a trace of self-conscious-
ness. he fairly let's himself go in the passionate
love making of the closing scenes and deeply
moves the audience With Mr.. Norman Forbes
Curoufau A0urrtissmcute