THE COTTONIAN
somewhat more than good. Round's was very good indeed and impressed all who saw it. He is to be congratulated.
K. Middleton made a very fine Gloucester. He had the difficult task of sustaining an old man's voice throughout a long part and he did it commendably well. His diction was an object lesson, with every stress and syllable given its full value. Perhaps there should have been more steel in his manner in the earlier stages and more frustration immediately after his blinding, but apart from this absence of colour in his interpretation, there was much sensitive speaking and acting, delicately and tellingly done.
D. de Ville has now reached the stage when one assumes that he will give a polished performance, for his experience in acting is quite formidable. Nor could anyone have been one whit disappointed on this occasion in his part as Edmund. He spoke and moved with quite professional address. He might have injected a measure more cynicism into the character, for Edmund, like Cornwall, is a perfect 'Machiavellian prince, but this is only a matter of degree. His scene with Edgar, when challenged, was particularly effective, moving from contemptuous pride to final humility and desire of good. His portrayal was finely done, vehement, incisive and fluent.
R. Wookey gave further proof, in his part as Edgar, of a quickly maturing dramatic talent. It was in the more difficult scenes, as Poor Torn, that he was best, with his grotesque postures and harsh accents. There were rare blemishes in missing accentuations and perhaps two inaudible lines. His manner was not fierce enough in the duel with Edmund. But his heart was clearly in the role and he played it really very %-ell. It was not difficult to picture the all toofamiliar figure of Shakespeare's own day, the deranged pauper thrown out onto a suspicious and hostile world. His speaking of the key-line, 'Men must endure their
going hence, even as their coming hither ripeness is all : come on' was exactly right.
K. Martin played Kent and did so most ably. He has a naturally relaxed voice and his speaking, even when using 'borrowed accents' was faultlessly clear. And there was an unforced regard for the rhythm of the verse which carried the listener along effortlessly. Martin, however, is no mere speaker. It is difficult to throw oneself into an impassioned speech at the beginning of a play, before one has warmed to the action, but his indignant rebuke of the king in the opening scene, so well countered by Round in his part, was commanding and impressive. I t was a part very well absorbed and interpreted, combining dignity and fierce conviction.
P. Thorpe's Cornwall was done kith a fine air of authority. The first thing one noticed was the familiar ease with which he wore his costume, without hint of awkwardness. In other respects, too, he showed an attention to detail that helped to produce a masterful impression : the well-planted feet, the lively but unobtrusive hands, the steady gaze at the speaker, and, once more, the meticulous enunciation, albeit without labouring, of every line. If his blinding of Gloucester was somewhat overacted, he (lid convey convincingly the hauteur and cruelty of the scheming duke.
In the earlier part of the play, there was a lack of contrast between Cornwall and Albany, though once P. Ridley settled to the part of Albany, this was quickly remedied. He might have seemed more outraged when he denounced Goneril, but in the scene with Edgar and Edmund at the end, lie was very good. One suspects that there is still a good deal of talent to show itself in his case and perhaps experience will provide the sure foundation for a display of it in the future.
A. Barbet acted the part of the Fool with a nice blend of comedy and pathos. He might, perhaps, have been more acid in