New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-04-24

D r..+.tNi ......... ErII f|srf
t.e..-.' Wallace BROOKS
ST..i'en ......--..--... Walter HanpdeH
in ..--......... ....... Cecil lsrp
u =. a.. ............. ....-.... l,cgra Hs-I1e
D. ~ "NA Jane Ores
arc. ...-....... lania Msrinor
d lii. ........ Isabel Nersu
,cf,s ...... EliTtheth Ncrso1
/ '".' Agnes Robinson
"The Tempest one OF the most i'm
aginatiye and poetical Of the Shake
spearian comedies. last night was acted
( in this city for the first time since its
/ production by Augustin Daly's com
( psny. nearly twenty years ago. The
Drama Society, as ITS portion Of the
4 Shakespearian celebration, offered at
the Century Theatre production
which took its keynote from the Eliza
bethan, paralleling the stage devices
Of three hundred years ago as nearly
as was practical and as nearly as
/ knowledge of the times has come down
TO us. The production was for the mos;
part thoroughly satisfactory and even
highly praiseworthy, and readily proved
the contention OF the producers that
THE Tempest thrives best in is
. n
stage devices 20 aid them, the players
succeeded oXcellently in maintaining
/ the high spiritual level which is es-
/ sential TO the proper performance of
this piece.
In its literature bearing upon tho
present production the Drama Society
recognizes that II Is not every shake
spcarian play which could stand the
test Of such a production. The diff
/ Guilty of staging realistically certain
portions of "The Tempest notably
the storm and the various supernatural
manifestations-ha been largely re
sponsble for the fact tfat 1t has been
so infrequently produced. Instead Of
endeavoring 10 cope with these prob
lcms. the present producers, recogni1-
ing that the most effective manner of
creating this supernatural atmosphere
rs By putting the audience on its honor.
so 10 speak, has dispensed with al
mechanical adiuncts and rested IL
case upon the poetry Of the verse and
the ability Of the players 10 read il.
Thus, throughout the five acts and
many scenes of the play, one sees con
stantly the built-in. curtained set
which formed the background Of the
E!izabethan stage. During the first
the presence Of ladders are quite SUI
fcieHt 20 stggest the interior Of q
ship. In the scenes before Prospero's
cell. during which the inner stage is
used. few painted rocks and tree or
two are employed. During all other
scenes. supposed 70 pass in various
parts Of the island. there il present
only the severe curtained background.
Il is thus possible for the five scenes
Of Acts II and III 10 be played as one
and without lowering the curtains.
There is. in fact. but single inter
mission, which comes after the third
act
As the Drama Society points out. the
present production probably marks the
first time in 800 years that the play
has been presented in its entirety.
Past producers. in their endeavors 10
achieve elaborate scenic effects, have
been forced 10 Glide many scenes and
70 rearrange others. Augustin DAILY.
for example, condensed the play to
four acts and the lines Of the opening
scene were omitted. Their omission
was compulsory. for they would have
been drowned IN the roar Of the of
stage tempest. This could be well APP
preciated last evening. for NJ least half
OF the lines Of this scene were lost IN
the relentless pealing o. tin-sheei
thunder.
After the first scene. however il was
quite a simple matter 20 forget the
stage settings entirely and 70 conjure
ones own. Thus, Prosperos presence
overhead during the scene between
Miranda and Ferdinand. in the third
act. caused not the slightest strain upon
the Imagination. The vision which
10 ka ~
tiers also could easily be accepted
scene. incidentally, in which the ap-
pearance OF Ariel as the harpy was
deity manipulated The general sim
| plicity. furthermore. made 10 no par
ticularly difficult matter to present the
masque. which. after ore had been &C
/ customed 10 an overly plump Juno, was
| pleasing in the extreme.
During the life Of the New Theatre
"The Winters Tale" was performed ir
similar style. and II gives one sense
akin 10 communing with dead spirit
Ito note that several persons connected
with the New Theatre are among those
respons bic for the present production.
Notable among them are John Corb'n
and Louis Calvert. Mr.. Calvert. ir
/ fact. returns 10 the erstwhile New The
atre TO play the role OF prospero. HIS
performance was generally good. q!
though at times superficial There
were moments when one might have
preferred a more kindly Prospero. but
otherwise Mr. Calvert was quite up &c
the mark
Walter Hampden's Caliban and the
Ariel OF Fania Marinoff were the bes,
and most Shskespearian Of the char
acterizafions Mr.. Hampden's monster
part fish and with suggestion Of the
/ ape. was flled with fury and power
( particularly during Caliban's trst
/ scene. Miss Marinof. Is Ariel. IN
proved steadily as the performance
/ progressed, and left most agreeable
| impression. Jane Grey, playing her
/ first classical role, was a sweet ana
/ simple Miranda. The Ferdinand OF
/ Henry Stanford was hardly romantic
/ figure. but was capably acted
/ Cecil Yapp and George Hassell. as
/ Trinculo and Stephano. respectively.
combined with Walter Hampden 20 eN-
tract maximum OF laughter from Their
two scenes. The rough Shakespearian
I h0mor Of these scenes was handled
with reasonable dclicacy, especially by
Mr.. Hasscll, who. quite incidentally. -
/ one OF The best and most versatile
comedians on the American stage. Ed
/ win Mordant was dignifed king and
Arthur Grcnvillc good Sebastian.
Elliott Schenck's music was a valu-
able addition TO the performance. and
! the costumes designed by Thomas ID.
/ Benrimo were, at least, striking.
Last nights performance was an in
y,tation affair. attended by a goodly
proportion Of Who's Who in the Drama
and bohemia. The public opening will
take place this evening. and The piece
b. .....a..,r.I % RIM a. least two weeks
AZ matter Of feet. il should be able
! l. .