ENTERTAINMENTS.

Gisborne Times, Volume XXVI, Issue 2189, 13 May 1908, Page 1

ENTERTAINMENTS.

“THE PRISONER OF ZENDA.” The dramatised version of Anthony llono’s popular novel, “The Prisoner of Zenda,” makes a splendid piny full of romance, chivalry, tho quick play of flashing blades, gallant deeds and daring adventures, and, as presented to a crowded house by Mr. Julius Knight and the members of Mr. J. C. Williamson's Dramatic Company in His Majesty’s Theatre last evening, was quick to arouse the tudienco to genuine enthusiasm. The plot tells how Rudolf V. is about to ascend the throne of Ruritania, n mythical kingdom which has no par ucular place upon the map of Europe. Tho King’s cousin Michael, Duke of Strelsuu, plots to provent hi; •coronation. At this time there is present in tho kingdom a young Englishman Rudolph Rassendyll, who, by a previous mesal ' uco of the Royal Family of RuriU-.'.ia, bears a striking resemblance to tho young king i who has fallen a victim to Michael’s cunning. Rassendyll is pressed into service to impersonate tho King, is crowned and accepted in the deception by the people ,and in turn falls in love with.the real King’s fiancee, the Princess Flnvia. From this complex position, Rassendyll for a time takes up the affairs of State, kills Michael, releases tho true King, bids a sorrowful good-bye to the Princess, and leaves Ruritania for England. The drama lias a delightful atmosphere, and tho action is brisk, each scene sparkling with tho whirl of events. No effort was spared to make tho staging effective, and it was a spectacular treat. Tho costumes, especially tho uniforms and gowns in the. coronation scene, were gorgeous and rich, and made a special feature. Mr. Julius Knight took upon himself the dual parts of Rassendyll and King Rudolf, and gave ono of liis best and most artistic creations. , His work was rich in contrasts, replete with surprises, and full of facile resource. As the young prince" in tho prologue, ho was a Royal stripling to the life, bold, handsome, impetuous, but sufficiently .courageous to save a lady’s name at the risk of liis own life. In the action of tho play lie made the transition from tho easygoing Englishman to an intoxicated king with facility born of true stagecraft. He invested the character of the impersonated king with dignity and at times humor, and his work throughout justifies emphatic praise. As tho Princess Flavia, Miss Ola Humphrey acted with exceeding grace and charm of manner. The part did not call for many powerful scenes, but for a queenly dignity that befitted ono of royal blood, and Miss Hum- . phrey’s conception was particularly graceful, gentle, well restrained, and always sincere. The part showed anew phase to a Gisborne audience of Miss Humphrey's ability, and her Princess Flavia will not readily be forgotten. Mr. Dudley Clinton presented an admirable character study as Colonel Sapt. His bluff', continental stylo and mannerisms, his staunch loyalty to the true king, combined with admiration for the courage of the deceiver were well shown, and his work throughout was thorough and gifted. Equally successful were Mr. Harry Plimmer as “Black Michael,” the Bertram Bertrand, (an English artist) of Mr Leslie Victor, tlho Fritz of Mr. Reynolds Denniston, and tho Rupert Hentzau of Mr. H. J. Bentley. Much praise is also due to Miss Elsie Wilson for her graceful work in the part of Antoinette de Maubau.

“A ROYAL DIVORCE.” The. great spectacular play “A Royal Diivorco” will be staged to-night. 'Oho story of the Royal Divorce and the historical facts on which it is based follow closely the winding path which led Napoleon from obscurity to greatness, from greatness to the zenith of his . conquests, and finally to the sad solitude alongside the sobbing surf on lonely St. Helena. The •scenes of history arise before ono as the drama proceeds. Napoleon loves Josephine with a deep, strong devotion, but the mad longing for fame, the insatiable demands of ambition sweep alongside his love, and lie separates /from his wife. To strengthen the foundatons of his ever threatened Empire, he weds the Princess Marie /Louis and parts from Josephine, shutting out, as lie thought, for ever from Ibis life tho love of his wife. Tho parting from Josephine is a scene bathed in. the soft_light of tonderness and unselfish sacrifice. The Empress whoso life is wrapped up in that of Napoleon ns called upon to give up what to her was dearer than life itself—itlie love and companionship of her Ihuaband. And for what? That he might wed another. In this scone tho battle between tlio strongest of human passions is short, but fierce indeed. Yet tho sacrifice is mado, and as tho dark days throw their shadows o’er the figure of Napoleon, lie secs ever near him one gleam of hope in tho love of Josephine. Finally he stands _ brokenhearted on the deck of a British warship as lie hears of liis banishment to St. Helena. Josephine pleads for the impossible—-that she might accompany him, but as they part the curtain falls only to rise.-again on the final scene of all, that in which Napoleon, forsaken, banished, hopeless, stands on -St. Helena and gazes with infinite sadness far away over the ocean to his happy days spent with Josephine, sco'nes ever rising mockingly before lliim, scones called up by the " memories of. the past. Some striking and magnificent tableaux are introduced including “Tho. Retreat from Moscow,” “The Battle of Waterloo” and “Alone on the Rock at St. Helena.”

The play will bo produced to-night in all its entirety and- magnificence, and to allow this to be done, it will be necessary to raise the curtain at. a quarter to eight when 'the public are asked to be in their seats.