Press Clippings for the week ending
Saturday, 8 June 2002
A random selection of cuttings
from newspapers and magazines
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* * * * * * * * The Henley Regatta on stage, London, 1886
‘A Dark Secret is the title of the new drama [by J. Douglass and J. Willing junior, founded on Sheridan Le Fanu’s story, Uncle Silas] to be produced at the Standard Theatre, Oct. 30th. The great scene is Henley Regatta, with every description of river craft, the Thames course being represented by a tank on the stage containing upwards of 213 tons of real water. The theatre will be closed from Oct. 25th to the date of production to complete the extensive alterations on the stage.’ * * * * * * * * An opinion of A Dark Secret, London, 1886
‘The "Gaffer" writes:- "I really do not know what Mr. Crummles, with his exalted opinion of stage-realism, would have said had he but have seen A Dark Secret, which was last week produced at the Standard Theatre. In this piece there is a mimic Henley Regatta, with real water, outriggers, steam-launches, and all the usual factors which help to make up this aquatic carnival, not forgetting live swans that gobble upon the house-boat’s unconsidered trifles. For my own part, I don’t care for this kind of thing, for however well it may be done, anomalies, disproportions, and absurdities crop up by the score, and one is apt to ask, Cui bono? While I say this, I should be manifestly dishonest were I not to declare that this latest revelation of Mr. John Douglass’s art as a master of mise-en-scène is the most striking example of stage-realism that this or any other generation has ever seen. There is a very sensational story told in A Dark Secret, too, and some very telling situations propelled, notably that in which May Joyce comes to the rescue of her little friend, the heroine, who is being brutally flogged by a Frenchwoman, snatches the whip from her hand and lays it vigorously over the shoulders of the woman who commenced the operation. The piece is in several respects well acted. Miss Stella Brereton admirably impersonates the heroine, Nelly, and in the first act is a perfect marvel of youthfulness. Miss Amy Steinberg, as May Joyce, is not entrusted with a very laborious part; but it is a grateful one, and this excellent actress makes the most of it. Miss Dolores Drummond, as a vindictive Frenchwoman, is quite a specialist, and in this instance her talent for making herself repellent is illustrated with so much sincerity that the audience will not condone her offence. I do not affect admiration for the services of the majority of the gentlemen who share this performance. Mr. Julian Cross, as the arch-villain, Jonas Norton, makes the great mistake of over-acting. His paroxysms of anger and disappointment are so palpably unreal that no value can be attached to them, except by the groundlings. I have seen this gentleman act very well indeed, and I am sincerely sorry I cannot speak favourably of his performance in A Dark Secret. I think it is in the play of Othello that somebody says, ‘Let’s teach ourselves that honourable stop not to outdo discretion.’ Mr. Cross might learn this lesson with advantage. As the corrupt and slangy vulgarian, Stephen Norton, Mr. Henry Bedford proves himself to be a highly serviceable actor. But what shall I say of the other gentlemen who disport in this piece? Well, ‘the rest is silence.’ Mr. Richard Douglass has illustrated this piece with even more than his usual happiness. The Thames picture, which immediately precedes that triumph of stage-carpentry, the Henley Regatta, is, I am compelled to believe, the very best cloth that Mr. Douglass has ever painted. If this able artist would be less lavish in his employment of raw greens, I should like his work even better than I do now."’ * * * * * * * * A Diamond Jubilee treat, London, 1897
‘Many poor London children will have good cause to remember the Diamond Jubilee year. Mr. Lowenfeld, in honour of the Queen’s Commemoration, has invited as many little ones as the Prince of Wales’s Theatre will hold to attend a morning performance of La Poupée, and, while their eyes and ears are delighted by sweet sounds and unaccustomed sights, their "little insides" will be regaled with tea and buns. It is a kind thought, and will give a great deal of happiness to many a mite into whose life there enter but few pleasures of this kind. "Other managers please copy."’ * * * * * * * * An armless musician, Portsmouth, 1899
New Palace Theatre, Portsmouth |
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© John Culme, 2002