New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-05-14
NO BRITISH FAILURE
Concerning Sir Herbert Trees Manner of Presenting Mr.
Shakespeare's Plays.

tory is searched for suggestions
for the details Of the settings. and the
final result 10 a great and impressive
spectacle which Is effective because it
is representative Of the most that
modern stsgecrsft can do for old plays.
1t is Shakespeare adapted TO modern
conditions-snd people like it. Just as
New York hoCked TO king Henry VIII"
so-or nearly so-they are streaming
to "The Merchant Of Venice"
Unless one knew "The Merchant by
heart, IL was impossible for first
nighter at the New Amsterdam last
Monday 10 realize the extent Of Sir
Herbert's changes in and improvements
upon Shakespeare's play. A Earring
note was sounded early in the per
Torrance by permitting the third
scene Of the first act 10 be Joined onto
the first scene; but the device by which
thew were connected was a not unin-
eenious one. Tubsl, whom Shakes
peare does not bring into the first act
at all, was permitted TO cavort around
the stage during the first scene, and
the supposition was that he overheard
the conversation between Antonio and
Bassanio.
By his act .ons, also, it was evident
that he was informing Bsssanio that
he knew the very man TO help him out,
and it appeared that he also acted as
a messenger, departing and bringing
Shvlock when Antonio was ready TO
talk business. All of this, of course,
Is rather a large liberty, but Sir Her
bert's choice lay between that or re-
setting the street scene after showing
Portals home. In the circumstances
il is doubtful II Sir Herbert hesitated
even q minute.
When one arrives at Portals house 1t
is Immediately evident that Portia mas
been giving q party, or something. The
room is filed with gsyly dressed men
and women, listening TO off-stage music
Presently they stroll off, leaving Portia
and Nerissa to proceed with the story
The various suitors having been de-
scribed, Sir Herbert is not content with
the statement Of the servant that the
four strangers seek for you, madam,
20 take their leave" Portis does not 60
off the stage to see them; but the four
come on stage to see her. One sees
the drunken Prince of Saxony, the
horse.loving Ncspolitan, the exquisite
Frenchman and the English baron, and
Sir Herbert gains humorous moment
| by showing them.
The scene then leaps into Act II and
shows the visit Of the Prince OF Mo-
rocco. After using The Introductory
speeches Of that worthy, there is an
other jump Of FIVE scenes, and the
Prince proceeds to make his unfortu-
nate choice. Thereupon another scene
is skipped. and the Prince Of Arragon
/ Is eliminated from the contest. The
flaws In this sort of treatment, OF
course, are obvious. In the first place,
il is hard to imagine Portia besieged
by suitors at Belmont, so that one Is
scarcely out OF the house before an
other enters. Also, Bassanio's rivals
are eliminated too early in the enter
/ tainment. Assuming that one did not
know how the play was going to turn
out, the suspense is ended too early.
The casket plot has ceased to exist at
the end of the first act.
/ II Is idle to relate in detail the man
ner in which Sir Herbert treats the re-
mainder OF the play; it need only be
added that he follows a similar course
10 that pursued in Act !. Shakespeare
/ is never permitted to stand in the way
fer minute. To Sir Herbert the play 5
stage. 1t is a system for which much
can be ssid--particulsrly in view Of the
results attained-but it is our own
opinion that 1.-THE Merchant of Venice
is among the plays that give greater
satisfaction when handled with some
regard for the rules.
While on the subject, George Bernard
Shaw once attended Sir Herberts pro
duction of "a Midsummer Nights
=