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THE HONGKONG DAILY PRESS,

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CRITIQUES CRITICISED. SOME IMPRESSIONS OF "THE TEMPEST."

(DY STAGESTROox.]

Friday morning.

MONDAY, JANUARY 1st, 1998.

time!) Even with fourth-rate professionals it is not customary to compliment them on remembering their parts! An actor of Mr. Lucoy's abilities in naturally word-perfect.

The third really outstanding character is that of Caliban (Prof. BE. M. Simpson), which demands a combination of the funge In small communities like ours, news. of a Platoon-Sergeant and the growl of a paper accounts of concerts or theatrical Battery-Sergeant-Major. A Prof. Simp son was merely, un Artillery Major in the performances frequently give the impression War, the tax which every word of Caliban's that the writer has a collection of stereo- makes on his voice, chest, lungs and other typed phrases such "capably portrayed." parts of his anatomy can well be imagined. "special praise," and "excellent rendition," But his rocation in the War at any rate gave him a certain proficiency in calling which be deals pus indiscriminately among down oaths on other people's heads, and the various artistes in such a manner that one suspecta that it is this priceless it is easy to foretell what the criticism will experience which enables him to enter be before getting eyes on the paper. If the with such gusto into the perfect orgy ef Daily Press were an offender in this respect cursing which charcterises the part. He I should not hesitate to say so, but it happily gave a very realistic impression of being proses an exception in giving us reports on the repulsive fish-man which he repre concerts, art exhibitions and stage produc-sented.

tions, which reveal a normally intelligent: Mrs. Grimble made à beautiful Miranda. understanding on the part of its contributor When she was on the stage I found it very of the branch of Art under review (The hard to take my eyes off her; in fact, contributions of "Musicus," in particular, I didn't try; I simply sat looking at ber are a pleasure to read).

pretty features. My companion remarked no wonder Ferdinand wan that it was "smitten "which is a tribute to her acting, since her whole manner and ap- pearance had to justify that youn" goa tleman's falling in love at first sight. If Mininda's voice was a trifle high pitched, it possessed other qualities which made it pleasing.

Uniformly enthusiastic accounts of good, bad and indifferent performances unfor tunately result in the criticisms becoming valueless. Having exhausted all possible superlatives in describing the exquisite "Felvety

rcices of some appalling turns at a local concert, there is no alternative but, to write about the visit of great virtuoso or au exceptionally good A.D.C. play in precisely the same strain.

"

!!

Her ardent lover, Ferdinand (Mr. D. C. Logan) has been accused of not being masculine enough." (v. Daily Press). But, after all, he passes a very sentimental three hours and we vaght to remember that he gets through his courtship and his proposal fa but three hours of imagined time, which is rather quick work. He has to bring home to his audience that he is, indeed, a lovesick swain, and if any of us has courage enough to recall how we behaved when in that condition we must grant that Mr. Logan is probably as masculine as it is possible to be when under the magic spell for the first time. In fact, there were many little subtleties of gesture and expression for which be deserves a very full measure of praise.

This is a great pity, for it prevents justice being done to a really remarkable production such us "The Tempest," which, la the opinion of some better qualified to judge then I nm, towers far above its A.D.C. predecessors in, originality, bollness of conception and artistic design. Such a setting from the music and the ballet to the lighting effects and scenery is unique, It would not be too much to say that nowhere has there been even a professional rendering of this play on the same lines, and Hongkong may compliment itself on having Mr. Sinclair, the producer, as one of its residents. To have deliberately sought for a special setting of modernist music, with so many beautiful airs already available, was

These five parts were evidently those on a Sinclarian stroke of genius. Some view which Mr. Sinclair had expended the balk ed this innovation with misgiving. Tet of his coaching efforts. The Rev. A. Turner, who, having witnessed the performance, R.N., seemed to be in his natural element as can doubt that the well-known settings the drunken Stephano, but as this were aure would have been out of place, while on they impossible his realistic representation of contrary, Mr. Eric Rice's incidental music the effect of imbibing too freely is the more is thoroughly in keeping with the whole remarkable. One suspected that the howls

Rice's alleged naive confession that he "knows nothing about orchestration" sont me to the theatre with my nose held critically in the air; consequently, when the storm began and the strains of his overture penetrated the walls of the sub- terranean grotto, where the orchestra lay hid, I was most pleasantly surprised. When the voices came in, I positively gurgled in my ecstasy. And when the Ballet made its appearance... but I must say no more. The Ballet of the Waves." "Full Fathom Five," and Ariel's Where the Bee Sack" are specially notable, but Juno's song is not so pleasing. Though the compositions would hardly create jurare if divorced from the surroundings, they are just what is required, unt for the most part are fascinating and original. Yet the critiques appear to have taken them for granted, as, also, they have the good work of the orchestra and vocalists under Mr. Eric Rice's direction !

matinee at every tick be imparted to Trinenlo, encouraged him in his efforts at that preformance to ал extent which Triaculo had good reason to regret, How- over, the latter (Mr. W. J. Hinton)" got his own back" last night and, after he had span Stephano violently around, Stephano's remark that his stomach was "not constant" was made with evident sincerity. One or two wondered why Trinoulo adopted such a aqueaky voice, as this croak is not funny in itself; but it mables Ariel to imitate him beautifully with ber Thou liest" towards the end of the play.

The Editor will not grant me space in which to comment on the other characters; but he must slow just a Thirty years paragraph for the ballet.

especially on the manner in which the Nympha Dance at the very outset gives one, the right atmosphere for the proper appreciation of the play.

go no amateurs could have been induced to appear in the negligee costames which are making" the atall seats so attraclive "If The Tempest performances. Dres last night certain of the audience ex- Two of the reports have suggested that pressed surprise-delighted "surprise--at | as the performers are amateurs they must the introduction of this ballet in an be judged leniently, but this iosinuation is amateur show. It is another bold strokre uncalled for. In most cases it may hold of Mr. Sinclair's. and its introduction in true; this production need not fear com-just those placer and in just that fanciful parison with any professional show, unless fashion makes it an integral part of the it be given by an all-star caste. The production. Mrs. Newcomb, who arranged amateur has enthusiasm and that com.the dancing, is to be congratulated pensates for much. Compare the listless attitude of the "beauty chorus" in the Opera Co. that lately visited us with the enthusiasm that these "amateur" put into "The Tempest." "The articulation was imperfect" writes one stribe, anxious to criticise something. I sat at the back of the balcony and heard every word distinctly. If anything, the performers were so meticulously careful that their words should carry as to be somewhat slow of diction. Many professionals with a long passage of Shakespeare to recite have been known to enunciate, the first few Jines distinctly and then" gabble through to the end, on the assumption that most people already know what they are talking about and that the rest don't matter. But the amateur wants everyone to hear what he says and the play would consequently take rather too long if it were not "cut.”

One word more. I read last night that there has been too much attention to set- ting, costumes, dances, music, &c., and too little attention to the clear and intelligent rendition of the beautiful words of the great author." A more unjust and utterly untrue criticism could hardly be made. The enar- cistion is everything that could be desired, while if the rendering appeared unintellig ible to the critic in question he must be practically the only person who found it so. The settings, costumes, dances, music and lighting effects are what make this such a the production, and, far from "not having much cause to remember it is by Shake speare," it is not too much to say that if Shakespeare were living in these days this # is just the way, in which he himself would

I wonder if many of us can picture a have wished this fantastic play" to bo professional more suited to the part of produced.

Ariel" than Miss Loxan. Those who have seen Miss Viola Tree in this part must admit that Miss Logan is nimbler, daintier and more light of foot, and these are the essential qualifications for impersonating this airy little spirit. No,

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