(THE WORLD OF THE THEATRE
Impressions and Memoirs, March 1920-1921
by J. T. GREIN, LONDON: WILLIAM HEINEMANN, 1921)
CHAPTER II - Ethel Irving's "Tosca."
I am parsimonious of the word "great," for I know the meaning of its domain, but I do not hesitate to apply it to the Tosca of Ethel Irving as I saw it in Brighton. When in two months' time it comes to London it may be the talk of the town and of our American visitors. Meanwhile, it is illuminating Brighton, Manchester, Liverpool; and well can I understand it that play and actress arouse enthusiasm.
I have seen all the Toscas of our time. I have seen her at the birthday festival when Sarah Bernhardt made one more bid for the conquest of the world. I well remember the magnificent Mrs. Bernard Beere, in some parts not so distant from Sarah, and Lewis Waller as Scarpia. I can recall all these creations in detail, and the main remembrance of them is that they were splendidly theatrical or, to avoid the flavour of the word, grand virtuosity. And here it is that Ethel Irving surpasses all her predecessors that I venture to apply to her the word "great."
To Ethel Irving la Tosca is not a heroine of the theatre; she has few of the grand allures of the star whose voice ensnared kings and peoples. To her she is a woman in love. Nothing more, but all that in its universality of feeling. When she enters with lilies in her arms, she strikes no pose. She is simply a woman of quality speeding to embrace, and the pastoral hour. When she discovers the fan, she casts all dignity to the winds. She is merely a woman rent and torn in the throes of jealousy. When she discovers her error, she is the submissive woman who in humility and caress seeks forgiveness.
But when her lover in the adjacent cabinet is tortured in the horrible adornment of a spiked crown, she rises to greatness. Her agony, expressed in anguished reflex on her countenance of the atrocity in the other room, is terribly real; her sinless betrayal of the fugitive is terribly afflicting. She does not spare herself. She gives all her power, her nerve force, her heart. The audience is spellbound, and remains so in that wonderful scene of suspense when Scarpia pays with his life for his fiendishness; and his slayer, a woman to a fault, crosses his hands, lays a crucifix on his breast, and places candles of holiness by his temples.
(The Advertiser [Adelaide, Australia] - 24th October, 1911)
A CHARMING ACTRESS
CHAT WITH MISS ETHEL IRVING
Miss Ethel Irving, who when on the stage seems not to know what nervousness is, is by nature very retiring. She particularly dislikes to be interviewed, and is said to be the despair of London and provincial pressmen. Although so used to the lime-light she shrinks from the thought of expressing herself through the medium of a newspaper, and a representative of "The Advertiser" on Monday received proof of her retiring disposition. Ladylike and courteous to a degree she made the repor ter quite at ease except that she tried by every possible means to avoid talking about herself. Nevertheless the chat was interesting, although her statements for publication were extracted with great difficulty.
When questioned about her opinion of Australia she replied, "Well, it was a great eye-opener. I knew a lot about Melbourne and Sydney, and had a fairly intimate knowledge of Adelaide - we in England know more of you than you think; but the first thing that struck me was the vastness of the cities. I scarcely realised that they were so big. It is, indeed, wonderful to find everything so up to date. I have had no difficulty in getting what I wanted, especially in the matter of clothes. I don't feel in a strange land, but just as if I were in our big cities at home. Everyone seems interested in his work with plenty of pleasure thrown in. People certainly seem not to forget the pleasure. The only thing that has not come up to expectations has been the weather. I was told in England that in Australia all would be sunshine, but the climate so far has been very much like that of England. I was charmed with the view from the train on the way from Murray Bridge to Adelaide; it reminds me of our Worcestershire country."
Have you travelled much, queried the reporter.
"No," admitted Miss Irving, as if she saw no special danger in talking on those lies, "this is the first long journey I have undertaken."
What do you think of Australian audiences?
"The theatre audiences are of a striking type. At first they did not seem quite to understand my methods. The 'curtains' without music were apparently an innovation, and they seemed surprised that I did not respond to the receptions they gave me."
It should be explained that Miss Irving when she enters upon the stage does not "step out of the picture" to acknowledge the welcoming applause. She keeps absolutely to the character without breaking it. Australian people, says Miss Irving, soon appreciate the break from conventional methods.
"Audiences in Australia are even more attentive than the first-class London audiences," she continued. "I was delighted, with the reception given to Lady Frederick, because we did not have such great hopes for it as for the others. You Australians have a wonderfully quick sense of humor."
What is your favorite part?
The question seemed to be getting too near to the subject matter of the interview, and Miss Irving was not particularly communicative. She admitted at length that the part which interested her most was Lollette in "Dame Nature." This play will be produced in Melbourne in about a month's time. "It is one of the most human parts ever written," she added. "Lollette is a living woman - a character such as there is in every family."
Miss Irving started playing in comedy, and now is appearing in both comedy and drama. She declined to express an opinion of what she could do best. In the play she is staging at present, however, the audience weeps at the pathos of her part; later in "Lady Frederick" the whole house will be convulsed with laughter. That shows her wonderful versatility.
The most interesting opinion concerning a woman is the opinion of a member of the same sex. The thought prompted the pressman to ask, what do you think of Australian women?
"If I may be pardoned for expressing an opinion I would like to say they are very smart. I will not say quite as good as the French, but the dresses I saw in Sydney at the races were wonderful works of art, and the cost must have been colossal. I am charmed with the ladies I have had the pleasure of meeting, and when I go home will leave behind some very dear friends, whom I hope I shall meet again either here or in Europe."
What are your future plans?
"It was arranged that I should leave Australia in February, but I have been asked by the management to extend the engagement for a month - a fortnight in Sydney and then a fortnight in Melbourne. It is not likely that I shall come back to Adelaide. If this arrangement is made I shall not leave for England until March. I shall go back to play W. S. Gilbert's 'Comedy and Tragedy' at the London Hippodrome. Then I shall play a nice piece for Mr. George Alexander, and as soon as that season is finished shall open in London under my own management."