THE THEATRE
King Henry IV (Part II). At the New Theatre.
MY one serious criticism of Mr. John Burrell's present fine production of King Henry IV at the New Theatre is that he shares the prime fault of most Shakespearean producers in his apparent neglect of the actors' diction. No fault is to be found with some of the actors. Laurence Olivier speaks not only with an impeccable clarity but with a perfection of phrasing that one usually hears from a few great singers and string players only, and it is notable that he preserves both clarity and rhythm equally well when he speaks as an unmis- takably old man ; his Justice Shallow is asemasterly and convincing as his Hotspur. Ralph Richardson is another whose speech is always musical, clear and convincing. This is the wittiest Falstaff I have seen. He is the nimble fat man, not the gross clumsy mountain of flesh ; but he is hardly Falstaff by natural temperament. There is something ascetic and scrupulous about Mr. Richardson which will not be done away with, and it is sheer talent as well as intelligence of acting that makes his performance the outstanding one it un- doubtedly is. But when we come to that admirable actor, Nicholas Hannen, as King Henry IV, we find that Shakespeare's lines in the magnificent scene with the Prince of Wales are mostly thrown away through indistinctness and wrong phrasing. Even Michael Warre as the Prince is not impeccable in phrasing although he is always clear and distinct. Apart from such defects this production is a notable one, and some of its scenes, in particular that final one in Gloucester- shire, when the news of the accession of Henry V reaches the revellers, have never in my experience been so vividly and excitingly done. A word of praise must be added for the Doll Tearsheet of Joyce Redman. She is an actress of great talent, as this performance,
in a part that does not do her justice, proves. JAMES RERFERN.
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