The Washington times., 1907-02-05
" Caesar and CLEOPATRA
An AII-ATound Triumph

il isn't comedy. it isn't melodrama.
and il isn't farce-eNcept IN spots II
isn't comic opera, lacking music; II Ism
tragedy. for the occasional murders are
merely by the way. II is little all OF
these. and all none of them. In fact,
it's Tar easier 10 say what Caesar and
Cleopatra" isn't than what il is Be
ing George Bernard Shaw's. II is, OF
course. satire and perhaps on the whole
il Is as well 10 accept shaW's designa-
ton and call IL history for he warns
one not 10 reject il until one has con-
suited a list of obscure authorities a
yard iong-Which, OF course. one has not
consulted. nor is in the least likely 10.
Clever Mr.. Shaw
Whatever it is. il is quite the most
refreshing, the most stimulating thing
that has come this way in a blue
m0on-aEd il is beautifully staged, and,
OF course, splendidly played, And what
ever il is. IL certainly took a delighted
and frequently surprised-audience by
storm last night, al the National II
was a triumph-fOr Shaw. Cor Forbes
Robertson. for Gertrude Elliott, and, IN
a lesser degree. for very capable COM
pany. one must be grateful 10 Shaw
for such an entertaining-well, historical
fantasy, perhaps, comes as near II
as anything-and 20 Forbes Robertson
for a performance so nearly ideal, SO
admirable in its every detail
For the first act and, perhaps, half OF
the second, Caesar and Cleopatra" is
the pursst the most delicious, the wit
TEST of comedies. and al the same
time instinct with poetic imagination.
The third act is highly effective meIO-
dramatic third act OF the production.
that is; The third act of the written
drama is not played. The last act
we'll il is merely the last act. exist
ing merely because OF the painful ne
cessity OF bringing the piece TO a close.
As for the much-discussed character
or Caesar-wEether II Is "the real
Caesar or not, 10 Is a rarely interesting
one whether IL is the historic Caesar
that Shaw has created and that Robert
son plays. IL is "a magnifcently human
one. With his keen sense Of humor his
gentle philosophy, his maste-fuI re-
source, his stern dignity. his swift com
prehensiOn, his Irresistible energy, it is
q rare uguTe Tor playa ngure instinct
with romance, Imagination. poetry; the
figure OF man who reads as an open
book the minds and hearts Of mis- Eel
lows, ana who rules them with instant
HuthoriJy-buL IL is EuberJsOu's Caesar.
rather than shaw sand it Is magnifi-
cent The lines are Shaw s. written
9VOWedly 10 nt Robertson, and written
I'M a vein OF poetry and romance such as
Shaw has not before tapped
The Caesar of Shakespeare is a stout
bald, rather selt-Important person, not
very much alive, heroic it you choose.
but not for a moment convincing.
Shaw scr, rather, Robertson Caesar
is convincing from first 10 last-frOm
the moment that he comes merely a
voice in the night from out OF the
shadow of the sphinx. until he ernbarBs
uu his galley and one wishes him bon
VOayge' back TO Rome. / know now
what Caesar looked LIKE never did be-
fore. i knew his lean, aqUiline Roman
pr0nlei the tai asceuc frame-'lean and
rather strlngy,' Cleopatra calls 1.-THE
high wTeathed forehead the grave eyes
under H.. l know how his toga hung on
his shoulders, and wasn't ridiculous, and
didn't get horribly in the way / know
how he walked and all the tones OF his
wonderful voice. and WHY men. hearing
%, obeyeu. Ives. and every one who
has seen Eobertson.s Caesar in Shaw's
Play.
shaw approached Caesar in exactly
the same spirit On which he approached
Napoleon in The Man Of Destiny" the
spirit Of cyuicism, iCOn0clasm inpu-
uenCef lrreECreuce, iusluCerity and para
doX, but he lost himself on the way.
All that is blown 10 the winds. an the
writer's capriciOus Intention forgotten as
Robertson plays iu-aud 20 q certain ex-
tent as Shaw has written IT, IN is a
caesar OF sustained grace and dignity.