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Memorable Scenes
Mr Bailey is sensibly presenting the play in
two parts, the interval falling in the action's only natural break, after
Antony has roused the rabble of Rome to avenge their Emperor's death and the
conspirators have fled. Less wisely, perhaps, he retains the insignificant
scene in which the innocent poet is put to death, and so loses an excellent
interval curtain.
The Antony of Clinton Greyn is a performance of
calibre. He looks well, speaks the verse with the confidence of understanding
and gains stature with the role.
Uneven Playing
Frederick Bartman is a surly, snarling
Cassius,all spite and venom. It is a notable performance, effectively in
contrast to the Brutus of Robert Marsden, though never moving enough in the
scene of quarrel and reconciliation.
Mr Marsden's work ranges from mediocrity to
near-perfection, I was disappointed by his early scenes last night; he seemed
too lifeless, too insensitive to be moved to action by the scheming and smooth
words of Cassius. After Caesar's murder - which was well-staged - his
performance rises. Now he is noble indeed, the fatalist, proud but never
haughty, dedicated and sincere.
I have said the players of minor roles fall
short of these three, but there are exceptions, notably Charles Kay, an
excellent Casca, Barbara Atkinson, an intensely moving Portia, and Peter
Palmer, a strong, expressive Decius. I liked the Caesar of Malcolm Rogers, felt
Patsy Byrne ill-cast as Caesar's wife, but found much that was good in the work
of Alan Howard and Terry Wale.
Finally a criticism, not of the actors, but of
a section of the audience whose misplaced and inexplicable laughter threatened
to destroy the effect of the later scenes. The play is being presented partly
for the benefit of local students and there were many in the house last night.
If the Company cannot claim appreciation from them all, they - and the rest of
the audience - can at least expect intelligent respect.
N.K.W.
The Coventry Evening Telegraph,
4.3.1959. |
