SHAKESPEARE IN PLUS FOURS

Old line dramatic critics have recently been aghast at the impertinence of the King's Way theatre in London in producing "Hamlet" in modern settings and modern costumes. In this production the melancholy Dane himself wore a well-tailored pair of knickerbockers. Ophelia went raving mad in the old regrettable fashion, even though quite up to date with a boyish bob and scandalously short skirt; and Laertes proved himself an adept at inhaling cigarettes. On the face of it, the play thus produced appeals as a clever burlesque; yet the producers seem to have been quite serious, being convinced that, after the first shock, Shakespeare would suffer nothing from the presence of modern costumes.

Reports from London indicate that the results were more encouraging than any of its sponsors probably dared hope when the project was set on foot. In five minutes the audience had forgotten the novelty of the costuming and stage properties and were completely absorbed in the play. Shakespeare's art asserted itself as infinitely superior to a tendency to giggle when Hamlet appeared in modern clothes; and the upshot of the matter was that only those Londoners were amused by the idea who had not seen the play.

The directors of this new "Hamlet" succeeded in impressing the drama of the situations on the audience through intonation alone. Physical action was reduced to a minimum; the effect was much as if the auditors had been backstage connected with the play only as they heard the actors' voices, yet realising the action as perfectly as if they were themselves on the stage.

Such an experiment may be looked upon merely as an amusing episode in the London season, and yet it shows beyond all doubt that in these days of moving pictures and elaborate costume play, true acting still depends on the power and expression of the spoken word.