dramatists produced at his theatre, for Olivia has been exquisitely mounted and exquisitely played.
AS YOU LIKE IT AT COOMBE HOUSE
(Dramatic Review, June 6, 1885.)
In Théophile Gautier’s first novel, that golden book of spirit and sense, that holy writ of beauty, there is a most fascinating account of an amateur performance of As You Like It in the large orangery of a French country house. Yet, lovely as Gautier’s description is, the real presentation of the play last week at Coombe seemed to me lovelier still, for not merely were there present in it all those elements of poetry and picturesqueness which le maître impeccable so desired, but to them was added also the exquisite charm of the open woodland and the delightful freedom of the open air. Nor indeed could the Pastoral Players have made a more fortunate selection of a play. A tragedy under the same conditions would have been impossible. For tragedy is the exaggeration of the individual, and nature thinks nothing of dwarfing a hero by a holly bush, and reducing a heroine to a mere effect of colour. The subtleties also of facial expression are in the open air almost entirely lost; and while this would be a serious defect in the presentation of a play which deals immediately with psychology, in the case of a comedy, where the situations predominate over the characters, we do not feel it nearly so much; and Shakespeare himself seems to have clearly recognised this difference, for while he had Hamlet and Macbeth always played by artificial light he acted As You Like It and the rest of his comedies en plein jour.
The condition then under which this comedy was produced by Lady Archibald Campbell and Mr. Godwin did not place any great limitations on the actor’s art, and increased tenfold the value of the play as a picture. Through an alley of white hawthorn and gold laburnum we passed into the green pavilion that served as the theatre, the air sweet with odour of the lilac and with the blackbird’s song; and when the curtain fell into its trench of flowers, and the play commenced, we saw before us a real forest, and we knew it to be Arden. For with whoop and shout, up through the rustling fern came the foresters trooping, the banished Duke took his seat beneath the tall elm, and as his lords lay around him on the grass, the rich melody of Shakespeare’s blank verse began to reach our ears. And all through the performance this delightful sense of joyous woodland life was sustained, and even when the scene was left empty for the shepherd to drive his flock across the sward, or for Rosalind to school Orlando in love-making, far away we could hear the shrill halloo of the hunter, and catch now and then the faint music of some distant horn. One distinct dramatic advantage was gained by the mise en scène.
The abrupt exits and entrances, which are necessitated on the real stage by the inevitable limitations of space, were in many cases done away with, and we saw the characters coming gradually towards us through brake and underwood, or passing away down the slope till they were lost in some deep recess of the forest; the effect of distance thus gained being largely increased by the faint wreaths of blue mist that floated at times across the background. Indeed I never saw an illustration at once so perfect and so practical of the æsthetic value of smoke.
As for the players themselves, the pleasing naturalness of their method harmonised delightfully with their natural surroundings. Those of them who were amateurs were too artistic to be stagey, and those who were actors too experienced to be artificial. The humorous sadness of Jaques, that philosopher in search of sensation, found a perfect exponent in Mr. Hermann Vezin. Touchstone has been so often acted as a low comedy part that Mr. Elliott’s rendering of the swift sententious fool was a welcome change, and a more graceful and winning Phebe than Mrs. Plowden, a more tender Celia than Miss Schletter, a more realistic Audrey than Miss Fulton, I have never seen. Rosalind suffered a good deal through the omission of the first act; we saw, I mean, more of the saucy boy than we did of the noble girl; and though the persiflage always told, the poetry was often lost; still Miss Calhoun gave much pleasure; and Lady Archibald Campbell’s Orlando was a really remarkable performance. Too melancholy some seemed to think it. Yet is not Orlando lovesick? Too dreamy, I heard it said. Yet Orlando is a poet. And even admitting that the vigour of the lad who tripped up the Duke’s wrestler was hardly sufficiently emphasised, still in the low music of Lady Archibald Campbell’s voice, and in the strange beauty of her movements and gestures, there was a wonderful fascination, and the visible presence of romance quite consoled me for the possible absence of robustness. Among the other characters should be mentioned Mr. Claude Ponsonby’s First Lord, Mr. De Cordova’s Corin (a bit of excellent acting), and the Silvius of Mr. Webster.
As regards the costumes the colour scheme was very perfect. Brown and green were the dominant notes, and yellow was most artistically used. There were, however, two distinct discords. Touchstone’s motley was far too glaring, and the crude white of Rosalind’s bridal raiment in the last act was absolutely displeasing. A contrast may be striking but should never be harsh. And lovely in colour as Mrs. Plowden’s dress was, a sort of panegyric on a pansy, I am afraid that in Shakespeare’s Arden there were no Chelsea China Shepherdesses, and I am sure that the romance of Phebe does not need to be intensified by any reminiscences of porcelain. Still, As You Like It has probably never been so well mounted, nor costumes worn with more ease and simplicity. Not the least charming part of the whole production was the music, which was under the direction of the Rev. Arthur Batson. The boys’ voices were quite exquisite, and Mr. Walsham sang with much spirit.
On the whole the Pastoral Players are to be warmly congratulated on the success of their representation, and to the artistic sympathies of Lady Archibald Campbell, and the artistic knowledge of Mr. Godwin, I am indebted for a most delightful afternoon. Few things are so pleasurable as to be able by an hour’s drive to exchange Piccadilly for Parnassus.
A HANDBOOK TO MARRIAGE
(Pall Mall Gazette, November 18, 1885.)
In spite of its somewhat alarming title this book may be highly recommended to every one. As for the authorities the author quotes, they are almost numberless, and range from Socrates down to Artemus Ward. He tells us of the wicked bachelor who spoke of marriage as ‘a very harmless amusement’ and advised a young friend of his to ‘marry early and marry often’; of Dr. Johnson who proposed that marriage should be arranged by the Lord Chancellor, without the parties concerned having any choice in the matter; of the Sussex labourer who asked, ‘Why should I give a woman half my victuals for cooking the other half?’ and of Lord Verulam who thought that unmarried men did the best public work. And, indeed, marriage is the one subject on which all women agree and all men disagree. Our author, however, is clearly of the same opinion as the Scotch lassie who, on her father warning her what a solemn thing it was to get married, answered, ‘I ken that, father, but it’s a great deal solemner to be single.’ He may be regarded as the champion of the married life. Indeed, he has a most interesting chapter on marriage-made men, and though he dissents, and we think rightly, from the view recently put forward by a lady or two on the Women’s Rights platform that Solomon owed all his wisdom to the number of his wives, still he appeals to Bismarck, John Stuart Mill, Mahommed and Lord Beaconsfield, as instances of men whose success can be traced to the influence of the women they married. Archbishop Whately once defined woman as ‘a creature that does not reason and pokes the fire from the top,’ but since his day the higher education of women has considerably altered their position. Women have always had an emotional sympathy with those they love; Girton and Newnham have rendered intellectual sympathy also possible. In our day it is best for a man to be married, and men must give up the tyranny in married life which was once so dear to them, and which, we are afraid, lingers still, here and there.
‘Do you wish to be my wife, Mabel?’ said a
