With memories of "The Rivals" and a certain football ballet, in my mind, I went, very hopefully, to the performance of "Julius Caesar" at the School. I was not disappointed. I have never been, even to a prize-giving, an admittedly severe test, to any show at the School without coming away with the feeling, that after all, England is a great land and we are a fine race. But I musn't "Agate" so much, but get on with my job, which is to give a few impressions of the performance of "Julius Caesar" by the Masters and boys of the School.
The chief characters were one and all excellent, and they rose to their opportunities very well, Brutus, perhaps, having more great moments, being particularly outstanding. He was lovable and convincing, in fact he was Brutus, a first-class performance. Mark Antony did not always stand upright, a difficult thing I know for a tall man actmg with boys, but when an actor is in costume, especially military, it is very important. He was splendid in the famous speech "Friends Romans, Countrymen," and got every ounce out of it, a reaIly fine performance, which swayed the audience as much as the crowd. Cassius got away in great style from the first minute, a great achievement and most unusual with amateurs. He played most consistently and well all through, a very distinct and well-sustained character. Julius Caesar looking every inch a Roman Emperor was very impressive. His face and bearing were so suited to the part, one felt the play must have been written and chosen on purpose that Mr. Euston should play Julius Caesar. Now coming to the halves and forwards, Lucius was charming and the little song went very nicely. Octavius Caesar, the two wives, Cinna (promising this one) all deserve good marks. In the scrum, the cobbler was always doing good work. The whole crowd indeed worked hard and well.
The production of the play was in Mr. Bradshaw's best and most thorough manner, the lighting, colour and general effect being superior to anything ever produced in Lewes. Brutus' "orchard" was a trmmph of colouring, lighting and econamy of detail. "The plains of Philippi" drew rounds of applause as the curtain went up on it, and certainly deserved them. As a stage picture it was completely satisfying. Am I being hypercritical, I wonder, in asking, if it didn't suggest peace rather than war? Also I should have liked to see the crowd in Mark Antony's speech less bunched round him, they would have looked more numerous and had more roam to gesticulate.
I hate criticizing what I enjoyed so much, but one other small thing. It has been laid down in the text books, that , it is an agreed stage propriety, that blood doesn't flow on the stage, I would even say, shouldn't appear at all. If the conspirators had shown hands with obvious blood on them it would have been unpleasant. What they did show us was faintly "redinkulous.' The same of course also applies to the covering over Julius Caesar's body.
When one considers the youth and inexperience of most of the cast, one can only marvel at the energy and skill of the producer.
Praise is due also to all behind the scenes who must have worked like . . . . . schoolmasters.
I congratulate everyone connected with it, indeed they were honourable men, all honourable men, and it was a most memorable and enjoyable production.
I have missed, I feel sure, many excellent points and omittcd the names of many excellent performers. I ask their pardon: I can only say in defence that I took no notes at the performance, never supposing I should be asked to write a notice for the Magazine.