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ROBERT WILLIAMS BUCHANAN (1841-1901) |
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THEATRE REVIEWS 27. Theodora (1889)
Theodora A letter from Buchanan to The Pall Mall Gazette sheds some light on his method of adapting Sardou’s original. |
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[Poster of Grace Hawthorne in Theodora courtesy of the British Library.]
The Penny Illustrated Paper (29 January, 1887 - p.65) I congratulate the clever and charming niece of Nathaniel Hawthorne—Miss Grace Hawthorne—upon her pluck and enterprise. This accomplished young American actress (who has proved successful in management where Mrs. Conover failed: at the Olympic) has taken a lease of the Princess’s from Mrs. Gooch on the same terms and conditions as the Wilson Barrett lease, which expires on May 17. “The Noble Vagabond” is running under a sub-lease. Miss Grace Hawthorne’s first production at the Princess’s will be a magnificently mounted English version of Sarah Bernhardt’s great drama of “Théodora,” the rights of which Miss Hawthorne has secured from M. Sardou. I apprehend, however, that after the Summer run of “Théodora,” Mr. Wilson Barrett will on his return from the States resume his lesseeship, inasmuch as he has arranged with Mr. G. R. Sims to provide him with a new drama at the princess’s in the early autumn. ___
The Stage (15 November, 1889 - p.9) Miss Grace Hawthorne commences a four weeks’ tour with Theodora, adapted by Robert Buchanan, on Monday next at the Royal, Brighton. I am informed by the management that much money and labour have been spent over the piece, Miss Hawthorne’s dresses alone being valued at £1,500. Mr. Fuller Mellish will play the principal male character. Miss Hawthorne tells me she has been in Paris for the past month studying her character under the immediate instruction of the author of the play, Sardou. Mr. W. H. Vernon will be responsible for the stage management. The cast is long, so more about the others in the piece next week. ___
The Stage (22 November, 1889 - p.10) “THEODORA.” On Monday, November 18, 1889, at the Royal, Brighton, was produced an adaptation, in five acts, by Robert Buchanan, of Victorien Sardou’s play, entitled:— Théodora. Justinian ... ... ... Mr. Arthur Lyle Mr. Buchanan remarked at the close of the performance on Monday, that he had merely “adapted Sardou’s great play to the English stage.” He need not, however, have been so modest. The adaptation is exceedingly clever indeed; the adaptor of Tom Jones and Joseph’s Sweetheart is to be congratulated on having scored another success out of quite as difficult materials. In its present form Théodora is a drama ingeniously constructed of strong dramatic interest and considerable literary merit. Théodora cannot be said to be an elevating subject for stage treatment, but Mr. Buchanan has divested her of much that would be odious, and has given us instead a woman, if a bad one, tender and passionate in love, bitter in hate, sensual to an extent, and greatly diplomatic. Such is his Théodora. Another strongly-drawn character is the young Greek, Andreas, full of patriotic fire and athirst for vengeance. On the shoulders of these two falls the burden of the play, which in its present form may be briefly described as follows:—The scene opens in a reception room in the palace of Justinian, where his consort Théodora, holds audience. She dismisses her court, converses with Antonina, her friend, who acknowledges to the Empress that she has gained her love by the use of magic philtres, concerning which old Tamyris knows the secret. Théodora, longing to be back in her old haunts, visits Tamyris at the hippodrome, and obtains from her a promise to supply her (Théodora) with the magic philtres which shall revive her husband’s love for her. The house of Andreas is the next scene, where a conspiracy is ripe for dethroning the Emperor. It is here that Andreas tells them of a woman he has saved from death during an earthquake—a woman whom he loves, and who visits him nightly, one Myrta by name. To her he partly discloses the plans of the conspirators. Myrta (or Théodora, for such she is) rushes off. The next scene is the palace. The Empress warns the Emperor of his danger, and all preparations are made for the arrest of the conspirators. Marcellus enters, is immediately seized; he shouts to Andreas to fly. Théodora, hearing Andreas coming, rushes to the door, tells Antonina to shout that Marcellus is dead, and stops anyone from leaving the chamber; thus Andreas escapes. Marcellus is dragged forth, and is about to undergo the torture when Théodora interferes. Marcellus begs her to stab him, which she, fearful lest he should betray her lover, in a fit of frenzy, does. The fourth act shows us their majesties at the hippodrome, where Andreas openly insults Théodora; he is arrested and thrown down at her feet. Again the Empress saves him, only, however, to be reviled by him. She, determined to regain his love, administers the magic philtres to him, not knowing that Tamyris, thinking they were to be given to the Emperor, had poisoned them. Thus Théodora kills her old lover. The Emperor, now fully conscious of his Consort’s guilt, accuses her of her faithlessness, which she acknowledges, and the executioner is about to despatch her when she drains the poisoned philtres and falls dead over Andreas’ body. ___
The Era (23 November, 1889 - Issue 2670) “THEODORA” AT BRIGHTON. Adapted from M. Victorien Sardou’s Masterpiece, Justinian ... ... ... Mr ARTHUR STYE (FROM OUR OWN CORRESPONDENT.) A large audience in the Brighton Theatre on Monday evening gave an enthusiastic reception to Mr Robert Buchanan’s version of Théodora, as represented by Miss Grace Hawthorne and her company. The work was splendidly staged; the scenery may justly be termed magnificent; while the costumes have never, in richness and elaborate workmanship, been excelled on the Brighton stage. Mr Robert Buchanan has displayed his best powers in his adaptation. The story, which has been rendered familiar by the inimitable representations in French by Madame Sarah Bernhardt and company, is worked out in five acts, the last and third of which comprise two tableaux. In the opening tableau, the passionate and unscrupulous Théodora, formerly a circus performer, and now wife of the Emperor Justinian, holds a reception in the palace. Here, in the midst of barbaric splendour, and surrounded by all the attributes of power and wealth, it is at once evident that she is an autocrat. In strong and effective contrast comes the second tableau—the Home of the Gladiators—where Théodora, visiting the witch, Tamyris, renews her acquaintance with her former Bohemian friends. The main purpose of her visit is, however, to secure from Tamyris a potion that shall enable her to strengthen the love of Justinian for her. Still greater is the dramatic interest in the second act, where, in the house of Andreas, a young Greek, it is seen that a plot is being concocted for the dethronement of the Emperor and the destruction of his hated consort. Andreas reveals to his co-conspirators his intense love for one Myrta, whom he regards as a young widow, and one—she is no less than Théodora—whom he has saved from the perils of an earthquake. Théodora visits him, and the two lovers plight their troth, only, however, to be disturbed by a ribald song, sung by passing conspirators, having for its theme the execration of the Empress herself. In the third act, at the Emperor’s palace, Andreas and his friend Marcellus, an officer of the bodyguard, enter the royal chamber, hoping to seize the monarch. Théodora had, however, taken measures to surprise the conspirators. Marcellus is overpowered, but Andreas, whose voice is recognised by Théodora, is enabled to escape. Justinian, determined to learn, by torture, the name of Marcellus’s accomplice, is frustrated by Théodora, who, undertaking to privately interview the captured conspirator, stabs him, at his own request, to the heart with the stiletto she wears in her hair. Andreas learns from the stiletto the identity of the Empress with the murderess of his friend; and when Théodora, whom he still regards as Myrta, visits him in the gardens of Styrax, she learns that her lover has determined to avenge Marcellus’s death. The Empress induces him to promise he will not leave his house till she again calls upon him; but, learning from his associates that Myrta and the Empress are one and the same person, he resolves to visit the Hippodrome. There, in the fourth act, the accusations of his co-conspirators are verified, and Andreas proclaims the Empress, who raises her veil before the assembled thousands, as an adulteress. He is seized and is about to be executed when Théodora contrives his escape. In the last act, at the palace, Tamyris gives Théodora the promised potion. The witch, sharing the hatred of the mob for the Emperor, has poisoned the potion. Andreas is immediately afterwards brought wounded into Théodora’s presence. Her old love for the young Greek manifests itself, but Andreas repels her advances. Believing the potion will restore his affection to her, she administers it to him and, while she is horrified to find she has killed him, Justinian arrives. The Emperor, who has discovered the unfaithfulness of his wife, orders her strangulation, when Théodora also partakes of the potion and falls dead upon the body of Andreas. The piece, for a first night’s performance, ran with smoothness, and there was a manifest improvement on the second night. ___
The Stage (29 November, 1889 - p.7) MANCHESTER PRINCE’S (Manager, Mr. T. W. Charles; Acting Manager, Mr. Tom Manchester).—A very large and appreciative audience gathered here on Monday to witness the first performance in Manchester of Robert Buchanan’s adaptation, Theodora. The production is on a grand scale. Miss Grace Hawthorne’s impersonation is a meritorious one. In many ways her acting displays grace and power. Miss Clarice Trevor makes as much as may be of Antonina. Miss Dolores Drummond evinces much discretion in her rendering of Tamyris. Callirhoe is very well played by Miss Marie Stuart, Mr. Arthur Lyle is powerful and effective as Justinian. Belisarius is admirably rendered by Mr. Cecil Morton Yorke. Mr. T. P. Haynes gives a capable performance as Euphratas. Mr. Thalberg displays ability as the centurion Marcellus. Caribert is played with success by Mr. Charles Macdona. As the young Greek Andreas Mr. Fuller Mellish distinguished himself in no slight degree. His acting throughout is of high merit, and repeatedly secures the decided approval of the audience. Timocles, Agathon, and Taber are all well played by Messrs. Harcourt Beatty, George W. Cockburn, and Thomas Backlock. Other characters are efficiently represented. The scenery, &c., is also very effective. ___
The Stage (21 March, 1890 - p.5) LEEDS—GRAND (Sole Lessee, Mr. Wilson Barrett; Manager, Mr. Henry Hastings).—On Monday a full and enthusiastic house witnessed the performance of Robert Buchanan’s adaptation of M. Victorien Sardou’s Theodora, with Miss Grace Hawthorne in the title-rôle. No expense seems to have been spared in staging it, the scenery is beautiful and effective, the dresses are superb and appropriate, and the more prominent artists show ability far above the average. It is scarcely to be expected that Miss Hawthorne can throw into the piece that warmth of feeling or genuine self-abandonment characteristic of Sarah Bernhardt. Yet there were not wanting evidences of a true appreciation of the character of Theodora, and occasional flashes of true art manifested themselves to those who carefully watched Miss Hawthorne’s delineation. The visit to and the interview with the witch Tamyris, the love scene with Andreas, the death-scene of Marcellus, her imperious bearing before the Emperor when the secret of her illicit love was unmistakably proved, and the death of Andreas, and her self, were undoubtedly Miss Hawthorne’s best and most telling efforts, and won for her considerable applause. It is no easy task to delineate a character so pleasing in some aspects, so repulsive in others, as that of Theodora, and Miss Hawthorne may be congratulated on the success which marked her efforts. Mr. Cecil Morton York brings to the representation of his character of Justinian experience and wisdom, and depicted the imperious monarch with consummate taste and judgment. Mr. Alfred Harding’s Belisarius was exceedingly good. Mr. D. G. Longworth’s Euphratus (Chief of the Eunuchs) lost much of its good effect through the actor’s use of a nasal twang, which was most distressing. Mr. Charles Lander’s Marcellus was a marked success. Mr. Alfred B. Cross soon won the confidence and appreciation of the house, which he certainly earned by his delineation of Andreas. Mr. Cross has more than once shown undoubted ability on the stage, but never has he displayed his powers to such advantage as on Monday night. Tamyris was very ably portrayed by Miss Dolores Drummond, and the remaining parts were well filled. ___
The Scotsman (25 March, 1890 - p.4) THEATRES. The production of “Theodora” at the Theatre Royal, with Miss Grace Hawthorne as the heroine, drew out a large audience last evening. As adapted by Mr Robert Buchanan, the classic play of M. Sardou is one of absorbing interest, if at times somewhat repulsive in its tone. Miss Hawthorne’s Theodora is a wonderfully powerful delineation of a difficult part. The company supporting Miss Hawthorne is a very clever one. Theodora was very cordially received last night. |
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[Advert from The Stage (9 May, 1890 - p.10) for the Princess’s Theatre, London.]
The Times (6 May, 1890 - p.9) PRINCESS’S THEATRE. As Theodora was written expressly for Madame Sarah Bernhardt, it is not without a certain temerity that any English actress can attempt an embodiment of M. Sardou’s title character. Mrs. Bernard Beere has of late years acquired a sort of prescriptive right to enter upon such hazardous undertakings, and she has in general acquitted herself of her task remarkably well. It is now the turn of Miss Grace Hawthorne to array herself in the défroque of the great French actress. Last night an English version of Theodora was brought out at the Princess’s Theatre with Miss Hawthorne as the courtesan queen. Rashness was probably the mildest term which the experienced playgoer was prepared to apply to this enterprise, more especially as the play has not been in any sense adapted to the measure of the English actress, but bristles with situations designed to throw the personal characteristics of Madame Sarah Bernhardt into the strongest relief. The result was, however, a pleasant surprise. Miss Hawthorne grappled very successfully with her trying character, and earned the cordial applause of the house. In the more passionate scenes some indebtedness to her predecessor could be traced in her acting, but her impersonation was, on the whole, consistent, well-studied, and impressive. The closing incident has been altered. In the French play, the executioner enters with the bow-string in his hand, and Theodora bends her neck to her fate as the curtain falls. In the English version, the Empress defeats the purpose of her enemies by swallowing a dose of poison after the manner of M. Sardou’s heroines in other plays. A more picturesque, although more conventional, climax is thus provided. It enables Miss Hawthorne to lie down and die pathetically by the side of her dead lover Andreas. With Mr. Vernon as Justinian, and Mr. Leonard Boyne as Andreas, the general representation has ample justice done to it. The mounting is also appropriate. In fine, the performance is interesting and agreeable throughout. ___
The Penny Illustrated Paper (10 May, 1890 - p.291) Miss Grace Hawthorne last Monday night fulfilled the promise she pluckily made at the commencement of her management of the Princess’s Theatre. This clever American actress appeared at the Princess’s in Mr. Robert Buchanan’s effective adaptation of Sardou’s powerful drama of “Théodora,” especially written for Madame Bernhardt. Handsomely mounted and beautifully costumed, the dresses worn by Miss Hawthorne herself being of regal splendour, “Theodora” presents a series of lustrous tableaux of the ancient Byzantium where the Emperor Justinian and the frolicsome and vicious circus-girl he made his Empress played their parts. I had heard of the success Miss Hawthorne had achieved in this arduous part in the provinces, but was wholly unprepared for the remarkable power she displayed in the strong passages of the romantic play. It was from first to last an excellent performance on the part of Grace Hawthorne—playful in the rencontre with her old Show mistress at the Hippodrome; full of soft amour in the moments of dalliance with her lover, Andreas; impassioned in her quarrel with the Emperor; and frenzied in the scenes in which she kills Marcellus at his own request and saves her lover against himself; and touching in the last scene of all, where she poisons herself and droops on the couch, where Andreas lies dead. As Andreas, Mr. Leonard Boyne acted with rare spirit. Mr. W. H. Vernon was admirable as Justinian; and so was Mr. Charles Cartwright as Marcellus; and the like may be said of Miss Dolores Drummond as Tamyris, and Miss A. Lloyd as Iphis. Miss Hawthorne and Mr. Buchanan were enthusiastically called before the curtain. “Theodora” was an unmistakable success. ___
The Graphic (10 May, 1890 - Issue 1067) |
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MISS GRACE HAWTHORNE, at the PRINCESS’S, has courageously undertaken the part of the profligate Empress Theodora in M. Sardou’s historical play—the part with which Madame Sarah Bernhardt electrified the Parisians at the Porte St. Martin five years ago; and, what is more, she has achieved in this arduous character a substantial triumph. To compare her with an actress of such superlative genius as her illustrious predecessor would of course be absurd; but there was nevertheless enough, and more than enough, of passionate energy and variety of expression in her impersonation to extort the admiration of those who can appreciate a really powerful and artistic performance. Miss Hawthorne is, on the whole, fortunate in her supporters; though Mr. Leonard Boyne’s Andreas falls something short of excellence, not because his performance does not aim at what is known as “natural acting”—for high colouring is not only permissible, but absolutely needful, in a historical melodrama so elaborately planned and worked out—but because his extravagances of tone and gesture tend somewhat to overstep the line that divides tragic intensity from burlesque. One of the best pieces of acting was that of Mr. Cartwright as the patriot, Marcellus. In the great scene in which he prevails on the Empress to stab him to the heart lest the name of her lover, who has conspired against the Emperor’s life, should be extorted from him by torture, Mr. Cartwright played with genuine tragic force; and praise is due to Mr. Vernon’s grave and weighty portrait of the Emperor. The effect of the performance is much enhanced by the beauty and splendour of the mounting—the picturesque scenery, the gorgeous pageantry, and the rich historical costumes and armour which are brought to bear in illustration of life in Constantinople when the Empire of the East was in the zenith of its power and grandeur. As a feast for the eye alone, Theodora would be worth seeing; as a historical melodrama, in which dramatic situations wrought to the highest pitch of intensity follow each other in almost inexhaustible succession, it is really without a parallel in the repertory of the modern stage. ___
The Theatre (1 June, 1890) “THEODORA.” Play in six acts, adapted by Mr. ROBERT BUCHANAN, from “Sardou’s masterpiece.” |
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Officers, Lords-in-Waiting, Ostiaries, Scholars of the Emperor’s Body Guard, Goths, Slaves, Servants, “Theodora” is a play that was written specially for Madame Bernhardt; it is one in which she is great, because she is a great actress, but it is not a good play, though a showy one. For the critical to enjoy it, the heroine must be impersonated by an artist of the first rank, for she has to show us how a girl who began life in the circus could so bewitch an emperor as to become his consort, and who after she wore the diadem could still delight in mingling with her former companions; who whilst being the ruling power of the state, could risk all in her wild mad passion for a young Greek; a woman who can wind her husband round her finger, who is as iron to her enemies but as wax to her lover, to save whom she will in cold blood pierce to the heart with a bodkin taken from her hair, an unfortunate creature, who might under the agony of the torture betray his fellow conspirator. Miss Grace Hawthorne has already filled the part with considerable success in the provinces, and though she could not altogether look the character or rise to the heights of grandeur that it requires, succeeded in rendering it a capable performance, and one far greater than was anticipated. Mr. Leonard Boyne was at his best when confessing how unwittingly he had betrayed his fellow conspirators. Mr. Cartwright’s rendering of Marcellus left nothing to be desired; his great scene when beseeching Theodora to put an end to him was most effective. Mr. W. H. Vernon was to the letter the crafty, superstitious, and craven emperor. Mr. George W. Cockburn, Miss Marie Stuart, and Miss Dolores Drummond, were good. The piece is splendidly staged, the dresses are of the costliest description, and the mounting altogether lavish, so that as a spectacle alone “Theodora” is likely to attract large audiences for some time to come. Mr. Buchanan’s version is a good one, but though his allowing the empress to poison herself, and so die with Andreas, affords a tableau and a scene for the heroine, I doubt whether it is as effective as the curtain falling on the supposition that she will suffer from the silken bowstring, as in the original. ___
Time (June, 1890 - pp.662-666) Like Macbeth, we have of late been supping full of horrors. The theatrical menu has consisted of three courses. Two ladies and one gentleman - Theodora, Esther Sandraz, and Paul Kauvar. The three are all members of one family, and they have a strong family likeness. THEODORA. The Byzantine, the French, the English, the American. The first is “as God made her,” and with that, as these are not historical notes, we have nothing to do. For the French Theodora - she is a creature, artistically speaking, after Sarah Bernhardt’s own heart. The play, as it is Sardou’s, is, by compulsion, clever. But it has not escaped the risks necessarily attending all works of art fashioned to order. “Written round” Madame Bernhardt, the character, the language, the incidents, the situations, do not seem to grow inevitably, inexorably, as necessary parts of one organic whole of art. They seem to be fitted on to the personal peculiarities and individual wishes of one great artist. Alec Nelson (pseudonym of Edward Aveling) [This review appears on the Marxist Internet Archive in the Eleanor Marx Dramatic Notes section.] ___
The Stage (22 August, 1890 - p.10) I am pleased to learn that Mr. H. A. Freeman is once more at his post at the Grand. Théodora was played on Monday with every indication of success, and the opinion was once more expressed that Miss Hawthorne has in this play excelled all her former efforts. A den of real live lions was introduced in the circus scene to be fed by the fair Théodora, and an explanation was made that on the remaining evenings they would appear in a larger cage. It would be more historically accurate to have no cage at all, and, truth to tell, the two poor animals did not look fierce enough to need very much restraint. Possibly some fuller account of this production may appear in next week’s issue. _____ The arrangements at the Standard for the next four weeks comprise Dorothy for six nights, from 25th inst., with, of course, Mr. Arthur Williams as Lurcher; then, for two weeks, Miss Grace Hawthorne in Théodora, with the lions, and the much-advertised dresses of fabulous price; and on 15th September a return visit of Falka for six nights only. ___
The Stage (19 September, 1890 - p.5) NOTTINGHAM.—ROYAL (Manager, Mr. C. T. Burleigh).—Attracted by the reports of the success of Miss Grace Hawthorne and her well-chosen Co. to support her in Theodora, and further by the announcement that a den of live lions would be introduced on the stage, this theatre was on Monday well filled in every part. Miss Hawthorne appeared in the title-rôle, and played with vigour the difficult part of the Empress. She was well supported by Mr. William Farren, jun., as the Emperor; and Mr. Fuller Mellish never played better than in the character of Andreas. Miss Louisa Wyatt was the gipsy, Tamyris; she sustained the character most creditably. Belisarius, Marcellus, and Callirhoe were well filled by Messrs. Arthur Estcourt, Howard Sturge and Miss Marie Stuart. ___
The Stage (19 February, 1891 - p.12) LONDON THEATRES. THE PAVILION. An enormous audience that filled the house to overflowing assembled at the Pavilion on Monday for the first night of the week’s engagement of Miss Grace Hawthorne and her Theodora company. It would be rather late in the day to say much about Robert Buchanan’s version of M. Sardou’s semi-historical drama, and Miss Hawthorne’s impersonation of the ex-circus dancer who rose to be Justinian’s consort has also been often discussed before. Moulded as it is upon the lines of Sarah Bernhardt’s Theodore, Miss Hawthorne’s is scarcely an inspired performance, and only now and again do we catch glimpses of the power that elevates this singular woman from the arena to the throne. Miss Hawthorne, however, has carefully studied the character, and her impersonation bears the stamp of zeal, perseverance, and well-prepared effect. Perhaps she is most successful in the comedy passages with Tamyris, the sorceress, and with the pair of caged lions in act one, where she shows as well as could be the reckless Bohemian nature of the mountebank’s daughter. The love scenes with Andreas and the wheedling of Justinian are also good points. There is some power in the stirring scene where the Empress stabs with her stiletto the self-sacrificing centurion Marcellus; Miss Hawthorne rose to the height of the occasion both when Theodora refuses to fly from the mob and where she claims as her own her old lover Andreas, who has just insulted her in the Hippodrome; and the last scene of all was not without a certain tenderness and pathos. Mr. Fuller Mellish declaimed ore rotundo in the many telling lines assigned to Andreas the Greek, and quite realized the type of man whom the Empress would “honour” with her affection. An admirable piece of sound, virile acting was given by Mr. George W. Cockburn as Marcellus, the passage where the Centurion exhorts Theodora to slay him being delivered with moving, though unstrained energy. Mr. Cockburn’s sonorous baritone voice enabled him to produce some effect in act four, where he sings “off” his own song, entitled “Marcellus.” Mr. Murray Carson showed an incisive style as Justinian, who was surely not such an abject craven as Sardou represents him to be. Mr. Leslie Corcoran was excellent in the character-part of Euphratus, the courtier; and Mr. H. Beatty acted with manly vigour as the young Frank Caribert. Miss L. Wyatt played in a broad and demonstrative fashion as Tamyris; and Mr. John Webb, Miss F. Dawson, and Miss Bertie Willis were commendable as Belisarius, Callirhoe, and Antonina. Some of the other minor parts were played with a painful lack of distinction. Theodora was well staged at the Pavilion, though perhaps the opportunities for the display of pageantry were not quite fully taken advantage of. The much-paragraphed lions were the observed of all observers in the third tableau of act one, where the arches of the Hippodrome are seen in the background; and the scenes were all substantial sets, the house of Andreas, the gardens of Styrax, and the room in the Palace calling for notice. Theodora was received with acclamation by the audience, and Miss Hawthorne and her principal supporters had to appear before the curtain again and again. ___
The Stage (23 April, 1891 - p.5) NEWCASTLE—TYNE (Lessee and Manager, Mr. Augustus Harris; Acting-Manager, Mr. C. H. Frampton).—Robert Buchanan’s adaptation of Victorien Sardou’s Theodora is played here this week under the management of Mr. W. W. Kelly. The drama was so well received upon the last occasion of its presentation here that it is not surprising that a large audience assembled on Monday night to greet Miss Grace Hawthorne in her clever delineation of the ambitious empress and quondam circus-rider. Miss Hawthorne has improved upon her former excellent grasp of the difficult study, and that her success will be much emphasised during the week is certain. Mr. Fuller Mellish is still the Andreas, and physically and histrionically it would be difficult to improve upon him. Mr. John Webb is an excellent Justinian. Mr. George Cockburn gives a first-rate rendering of Marcellus. Among the others of the Co. we may mention Mr. Arthur Estcourt as Belisarius, Mr. Theodore Alker as Caribert, Mr. Charles Forsey as Amron, Miss Louisa Wyatt as Tamyris, Miss Vera Ajax as Macedonia, and Miss Frances Wyatt as Callirhoe. The cage of real lions serve to increase the realism of the production, and splendid dresses and accoutrements add greatly to the success of the play as a spectacle. ___
The Stage (28 May, 1891 - p.5) DUBLIN—GAIETY (Proprietor and Manager, Mr. Michael Gunn; Business Manager, Mr. C. Hyland).—Considerable interest has been shown and speculation been rife as to the manner in which Miss Grace Hawthorne and Co., who commenced an engagement on Monday, would present Robert Buchanan’s adaptation of Sardou’s play, Theodora. The large audience that assembled to witness the production appeared keenly to appreciate the manner in which the piece was given. The cast is an extremely large one, and in most respects very satisfactory. In bold relief, however, stands out the artistic impersonation of the warrior lover, Andreas, by Mr. Fuller Mellish. His strong figure and pleasant face suit well the elocutionary power with which he delivers himself of his lines. As Theodora, Miss Grace Hawthorne is successful. She imbues the part with a crafty strength which is one of its attributes. The dresses, armour, jewellery, &c., are gorgeous to a degree, and the scenery for the most part good. ___
The Pall Mall Gazette (3 August, 1891) “THEODORA” AT THE NEW OLYMPIC. Miss Grace Hawthorne, who followed Mr. Wilson Barrett in the management of the Princess’s Theatre a few years ago, has now, by another turn of the wheel, succeeded Mr. Barrett at the New Olympic, where she is appearing in “Theodora” at the head of the company with which she has for some time past been scouring the country. Miss Hawthorne is not Sarah Bernhardt, and her impersonation of the circus-rider become Empress cannot, of course, be compared with the representation of the same character by the great actress for whom the part was specially written, though Miss Hawthorne, whose performance is to Mdme. Bernhardt’s as Mr. Robert Buchanan’s rough translation of the piece is to the original by M. Victorien Sardou, wilfully suggests the comparison now and then. But hers is no mere imitative piece of acting. She is best when she is boldest, as in the agonizing scene in which Theodora saves her lover’s life by deliberately killing his friend. There is, perhaps, more of the circus-rider than the empress in Miss Hawthorne’s conception of the part; Theodora’s coarseness is no longer a recrudescence simply; still the performance is a sound and interesting one, on the whole, with many a vivid flash of fine acting. The acting of the other characters, all more or less subservient to Theodora, may be generally rather than individually recommended, as showing the advantages which actors enjoy, in common with cricketers, when they are used to playing together. The mise-en-scène, which is no secondary consideration, is superlatively good. ___
The Stage (6 August, 1891 - p.9) THE NEW OLYMPIC. The New Olympic, now also called the People’s Theatre of London, was reopened by Mr. W. W. Kelly and Miss Grace Hawthorne on Saturday evening, with a revival of Robert Buchanan’s adaptation of Sardou’s Theodora. Since its production at the Pincess’s in the summer of last year this spectacular Byzantine drama has been seen in various parts of London, and now West-end playgoers, reinforced by the occupants of the shilling pit and the eighteenpenny pit stalls, will doubtless be glad to renew their acquaintance with an effective, if too theatrical, exemplar of the quasi-historical play. Our provincial correspondents have week by week borne testimony to the popularity of the Theodora company in the country, and, if first-night enthusiasm goes for anything, there should be good houses during the three weeks’ run of the play at the Wych-street theatre. The company have undergone some few changes since their last appearance in London. We miss Mr. Harcourt Beatty as the outspoken young Frank Caribert, and his successor, Mr. Theodore Alker, is a trifle rougher even than is requisite for a proper realisation of the character. Mr. John Webb is no longer in the cast, and the part of the illustrious General Belisarius is now played rather indifferently by Mr. Frederick Victor. Mr. George W. Cockburn repeats his vigorous and manly impersonation of the centurion Marcellus, and again does well in his own song, which he sings off in the fourth act. Mr. Murray Carson looks every inch an emperor as Justinian, and plays with especial point in the scenes of the capture of Marcellus and of Andreas, and also in the last act, where the great ruler finally determines to put Theodora to death. Mr. Fuller Mellish still gives an able and in many respects powerful rendering of the part of Andreas, but we are obliged to note that there is a tendency to exaggeration alike in his tones and in his gestures. Mr. T. W. Percyval will be quite satisfactory as the chief eunuch Euphratus when he has become perfectly certain about his words. Mr. Leslie Corcoran makes a good Priscus, the leader of the claque at the Hippodrome. Mr. G. H. Binney, Mr. H. Ludlow, and Mr. Henry de Solla render more or less useful service as the conspirators, Timocles, Agathon, and Styrax. Mr. W. J. Monckton’s herculean proportions well suit him for the part of Amrae, the lion tamer; and the thrilling scenes of contemplated torture have their effect heightened by the grim and fiendish appearance of Mr. W. Baker as the executioner. Miss Louie Wilmot won a hearty encore for her graceful and pleasing skirt-dance as Iphis; Miss Lilian Seccombe was a pretty albeit somewhat hysterical Callirhoe, the circus girl; Miss Bertie Willis was Antonina, and Miss Louisa Wyatt was as before a vigorous and rather melodramatic Tamyris. Miss Hawthorne’s Theodora is gradually becoming a ripe impersonation. She makes her points with greater spontaneity, she is unquestionably gaining in power, and the volcanic outbursts of passion are more frequent and more effective. Miss Hawthorne also shows skill as a comédienne, notably in the Bohemian repast under the arches of the Hippodrome, and in the episode where Theodora acknowledges to Justinian that she has ever been acting. The terrible scene of the stabbing of Marcellus is now played more naturally, and the love passages are full of tenderness. Miss Hawthorne had a most cordial reception on her first appearance, and calls were frequent. Theodora is well staged under the direction of Mr. W. H. Vernon. The scenery is quite adequate, though not calling for special notice, the dresses are handsome, and the processional entrances in acts one and five are managed with skill. The lion exhibition has now lost some of its novelty, and on Saturday night, at any rate, the huge cats were rather put into the shade by an extremely sportive kid, which several times walked down to the footlights, nibbled at the cabbages on the table of Tamyris, and performed other unrehearsed pranks. The house was filled in every part, and the system of popular prices certainly made a good start. ___
The Era (8 August, 1891 - Issue 2759) THE LONDON THEATRES. THE OLYMPIC. Andreas ... ... ... Mr FULLER MELLISH “To add realism to the third tableau in the first act, an arrangement has been made, at enormous expense, with Mr William Cross, the well-known importer of animals, to furnish a den of live lions.” So runs the announcement on the programme of the entertainment now supplied under the auspices of a limited liability company at the Olympic Theatre. In our notice of the production of Mr Buchanan’s adaptation of Sardou’s play at the Princess’s Theatre, we were not able to include these two leonine performers in our critique. Mr Cross has, however, reason to be satisfied with his protégés. The larger lion, on the prompt side, exhibits much animation, and the manner in which he seizes a piece of red flannel, which, tied to the end of a short stick, is presented to him by the Byzantine Empress “out for a spree,” is highly commendable. Repose is the chief characteristic of the smaller animal in the O.P. cage, but, considering his youth and inexperience, he shows his discretion by not attempting to attract the attention of the audience. The habit which the pair have of conversing aloud behind the scenes must be reprehended, for several times in the course of the performance their deep-mouthed remarks interfered with those of the human performers. Considering the small scope which they have in their barred boxes for the display of any special ability, the two live lions may be congratulated on their London début. With the play itself we have dealt at length. It was four years after the production of M. Sardou’s piece at the Porte-St.-Martin that Mr Buchanan’s adaptation was seen at the Princess’s. His version is considerably condensed, greatly to the benefit of English audiences, who find long descriptive speeches, however replete with archæological information, extremely tedious. Though made much more dramatic by curtailment, Mr Buchanan’s Theodora remains the unpleasant and gloomy play which we found it at the Princess’s in the May of 1890. Miss Grace Hawthorne’s Theodora we spoke of at that time. Mr Fuller Mellish, who undertakes the rôle of Andreas, formerly sustained by Mr Leonard Boyne, has found the necessary corrective for certain mannerisms which were growing upon him in the hard work of a provincial tour. Like Charlotte Corday, Mr Mellish never wanted energy, and he has acquired more breadth, weight, and power by his country practice. He plays Andreas with commendable intensity and spirit. A touch of exaggeration is noticeable at times, but it is a fault on the right side in a drama of this sort, and his performance on the whole deserves warm praise for its whole-souled vigour and bold earnestness. Mr Murray Carson’s Justinian is a highly intellectual and finished conception. His by-play is excellent, and he depicts the varying passions of the Byzantine Emperor with great cleverness. Mr Geo. W. Cockburn not only gives a really powerful and resolute rendering of the rôle of Marcellus, but sings most tunefully a dirge of his own composition, the words of which are written by Mr Murray Carson. Mr Stedman’s choir join in the mournful hymn, which adds greatly to the effect of the conclusion of the third act. Mr T. W. Percyval makes Euphratus as comical as the part will permit, and Mr Frederick Victor is an imposing Belisarius. Miss Louisa Wyatt endows Tamyris with much blunt force; and Miss Louie Wilmot dances prettily as Iphis, Miss Lilian Seccombe making a sprightly Callirhoe, Mr Theodore Alker, though at times a little indistinct in utterance, being a manly Caribert. A host of minor characters of almost equal importance are sustained with credit by their respective representatives, special praise being deserved by Mr G. H. Binney as Timocles. The mounting is as effective and picturesque as at the Princess’s Theatre last year, and the brilliant spectacle and the reduced prices doubtless do much to reconcile audiences to the unwholesome nature of the play. ___
The Theatre (1 September, 1891) “Theodora,” Mr. Robert Buchanan’s adaptation of Sardou’s drama, was, after a long and successful provincial tour, revived at the New Olympic Theatre on Saturday, August 1st. Of the original cast that appeared in it when it was placed in the evening bill at the Princess’s on May 5th of last year, but three remain. Miss Grace Hawthorne still plays the courtesan-empress, and her continued acting of the character has added to it additional strength and humanity. Mr. George W. Cockburn, who first appeared as Caribert the Frank, is now the Marcellus, who dies rather than betray his fellow-conspirators. He has made rapid strides in his profession, and displayed extraordinary powers in his great scene. His career from this time will be watched with interest, for he was the success of the evening. Mr. Henry de Solla, who formerly appeared as Faber, is now a capable Styrax. Mr. Fuller Mellish is the new Andreas, and plays with earnestness, power, and that romance so necessary to the character. Mr. Murray Carson is the wily, craven-hearted Justinian, and has thought out the character well. Mr. T. W. Percyval gives a humorous reading of the sycophantic Euphratus, and Mr. W. Monckton is a stalwart Amrou, the lion-tamer. Of the female parts that deserve mention are the bright, saucy Callirhoe of Miss Lilian Seccombe, and the Tamyris of Miss Louisa Wyatt, which if not quite equal to that of Miss Dolores Drummond, is not altogether wanting in power. The drama was handsomely staged, and the living lions, goats, etc., were a source of attraction to many. It should be mentioned that Mr. W. Kelly, the manager, inaugurated the “cheap prices” for boxes, pit, and gallery. _____
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