An Essay Toward a History of Shakespeare in Norway Part 18

_Julius Caesar_ is the last new play to be presented at Christiania Theater or at the National Theater, which replaced the old Christiania Theater in 1899. From October, 1899 to January, 1913 the National Theater has presented eight Shakespearean plays, but every one of them has been a revival of plays previously presented.

_Bergen_

Up to a few years ago, the only theater of consequence in Norway, outside of the capital, was at Bergen. In many respects the history of the theater at Bergen is more interesting than that of the theater at Christiania. Established in 1850, while Christiania Theater was still largely Danish, to foster Norwegian dramatic art, it is a.s.sociated with the greatest names in Norwegian art and letters. The theater owes its origin mainly to Ole Bull; Henrik Ibsen was official playwright from 1851 to 1857, and Bjrnson was director from 1857 to 1859. For a dozen years or more "Den Nationale Scene i Bergen" led a precarious existence and finally closed its doors in 1863. In 1876 the theater was reopened.

During the first period only two Shakespearean plays were given--_Twelfth Night_ and _As You Like It_.

_As You Like It_ in Stille Beyer's version was played twice during the season 1855-56, on September 30 and October 3. The press is silent about the performances, but doubtless we may accept Blanc's statement that the task was too severe for the Bergen theater.[25]

[25. Norges Frste Nationale Scene. Kristiania. 1884, p. 206.]

Rather more successful were the two performances of _Twelfth Night_ in a stage version adapted from the German of Deinhardstein. The celebrated Laura Svendsen played the double role of Sebastian-Viola with conspicuous success.[26]

[26. _Ibid._, p. 304.]

_The Merchant of Venice_ was given for the first time on October 9, 1878, two years after the reopening of the theater. _Bergens Tidende_[27] calls the production "a creditable piece of amateur theatricals," insisting in a review of some length that the young theater cannot measure up to the demands which a play of Shakespeare's makes. _Bergensposten_ is less severe. Though far from faultless, the presentation was creditable, in some details excellent. But, quite apart from its absolute merits, there is great satisfaction in seeing the theater undertake plays that are worth while.[28] Both papers agree that the audience was large and enthusiastic.

[27. _Bergens Tidende_, October 10, 1878.]

[28. _Bergensposten_, October 11, 1878.]

The next season _A Winter's Tale_ was given in H.P. Holst's translation and adaptation of Dingelstedt's German acting version _Ein Wintermarchen_. The press greeted it enthusiastically. _Bergens Tidende_[29] says: "_A Winter's Tale_ was performed at our theater yesterday in a manner that won the enthusiastic applause of a large gathering. The princ.i.p.al actors were called before the curtain again and again. It is greatly to the credit of any theater to give a Shakespeare drama, and all the more so when it can do it in a form as artistically perfect as was yesterday's presentation."

[29. April 20, 1880. Cf. also _Bergensposten_, April 21, 1880.]

Concerning _Oth.e.l.lo_, third in order in the Shakespearean repertoire in Bergen, the reviews of the first performance, November 13, 1881, are conflicting. _Bergens Tidende_[30] is all praise. It has no hesitation in p.r.o.nouncing Johannesen's Iago a masterpiece. _Bergensposten_[31]

calls the performance pa.s.sable but utterly d.a.m.ns Johannesen--"nothing short of a colossal blunder." Hr. Johannesen is commended to the easily accessible commentaries of Taine and Genee, and to Hamlet's speech to the players. Desdemona and Ca.s.sio are dismissed in much the same fashion.

[30. November 14, 1881.]

[31. November 15, 1881.]

A few days later, November 18, _Bergensposten_ reviewed the performance again and was glad to note a great improvement.

_Bergens Addressecontoirs Efterretninger_[32] agrees with _Bergensposten_ in its estimate of Johannesen. "He gives us only the villain in Iago, not the cunning Ensign who deceives so many." But Desdemona was thoroughly satisfying.

[32. November 15, 1881.]

Whatever may have been its initial success, _Oth.e.l.lo_ did not last. It was given four times during the season 1881-2, but was then dropped and has never since been taken up.

Three different groups of _Hamlet_ performances have been given in Bergen. In September, 1883, the Ophelia scenes from Act IV were given; the complete play, however, was not given till November 28, 1886. The press,[33] for once, was unanimous in declaring the production a success. It is interesting that an untried actor at his debut was entrusted with the role. But, to judge from the press comments, Hr.

Lchen more than justified the confidence in him. His interpretation of the subtlest character in Shakespeare was thoroughly satisfying.[34]

[33. Cf. _Bergens Tidende_, November 29, 1886; _Bergens Aftenblad_, November 29, 1886; _Bergensposten_, December 2, 1886.]

[34. Cf. _Bergens Tidende_, November 30, 1886; _Bergens Aftenblad_, November 29, 1886; _Bergensposten_, December 1, 1886.]

Finally, it should be noted that a Swedish travelling company under the direction of the well-known August Lindberg played _Hamlet_ in Bergen on November 5, 1895.

It is apparent, from the tone of the press comment that a Shakespearean production was regarded as a serious undertaking. The theater approached the task hesitatingly, and the newspapers always qualify their praise or their blame with some apologetic remark about "the limited resources of our theater." This explains the long gaps between new productions, five years between _Oth.e.l.lo_ (1881) and the complete _Hamlet_ (1886); five years likewise between _Hamlet_ and _King Henry IV_.

_Henry IV_ in Bjrnson's stage cutting promised at first to establish itself. Its first performance was greeted by a crowded house, and enthusiasm ran high. The press questions the right of the play to the t.i.tle of _Henry IV_, since it is a collection of scenes grouped about Prince Hal and Falstaff. But aside from this purely objective criticism the comment is favorable.[35]

[35. Cf. _Bergens Tidende_, March 2, 1891; _Bergens Aftenblad_, March 2, 1891.]

With the second performance (March 4, 1891) comes a change. _Bergens Tidende_ remarks that it is a common experience that a second performance is not so successful as the first. Certainly this was true in the case of _Henry IV_. The life and sparkle were gone, and the sallies of Falstaff awakened no such infectious laughter as they had a few evenings before.[36] There was no applause from the crowded house, and the coolness of the audience reacted upon the players--all in violent contrast to the first performance. The reviewer in _Aftenbladet_ predicts that the production will have no very long life.[37] He was right. It was given once more, on March 6. Since then the theater-goers of Bergen have not seen it on their own stage.

[36. Cf. March 5, 1891.]

[37. Cf. March 5, 1891.]

Sille Beyer's _Viola_ (which, in turn, is an adaptation of the German of Deinhardstein) had been played twice at the old Bergen Theater, July 17 and 18, 1861. It was now (Oct. 9, 1892) revived in a new cutting based on Lembcke's Danish translation. _Bergens Aftenblad_ declares that the cutting was reckless and the staging almost beggarly. The presentation itself hardly rose above the mediocre.[38] _Bergens Tidende_, on the other hand, reports that the performance was an entire success. The caste was unexpectedly strong; the costumes and scenery splendid. The audience was appreciative and there was generous applause.[39]

[38. October 10, 1892.]

[39. October 10 and 13, 1892.]

The last new play to find a place on the repertoire at Bergen is _Romeo and Juliet_. This was performed four times in May, 1897. Like _Henry IV_, it promised to be a great success, but it survived only four performances. _Bergens Tidende_[40] gives a careful, well-written a.n.a.lysis of the play and of the presentation. The reviewer gives full credit for the beauty of the staging and the excellence of the acting, but criticises the censor sharply for the unskillful cutting, and the stage manager for the long, tiresome waits. _Bergens Aftenblad_[41]

praises the performance almost without reserve.

[40. May 15, 1897.]

[41. May 15, 1897.]

And the last chapter in the history of Shakespeare's dramas in Bergen is a revival of _A Winter's Tale_ in the season 1902-3. The theater had done its utmost to give a spendid and worthy setting, and great care was given to the rehearsals. The result was a performance which, for beauty, symmetry, and artistic unity ranks among the very best that have ever been seen at the theater. The press was unanimous in its cordial recognition.[42] The play was given no less than nine times during October, 1902. Since then Shakespeare has not been given at _Den Nationale Scene i Bergen_.

[42. See _Bergens Aftenblad_ for October 6-9, 1902; _Bergens Tidende_, October 6, 1902.]

APPENDIX

Register Of Shakespearean Performances In Norway

_Kristiania_

I. Christiania Theater.

The following record is an excerpt of all the data relating to Shakespeare in T. Blanc: _Fortegnelse over alle dramatiske Arbeider, som siden Kristiania Theaters offentlige Aabning den 30 Januar, 1827, har vaeret opfrte paa samme af dets Personale indtil 15 Juni 1899_. This _Fortegnelse_ is still unpublished. The MS. is quarto No. 940 in the University Library, Kristiania.

1. Blind Alarm. Skuespil i fem Akter af Shakespeare. (Original t.i.tle: _Much Ado About Nothing_). Translated by Carl Borgaard, from the nineteenth performance, May 18, 1878, under the t.i.tle _Stor Staahei for Ingenting_, Oct. 29, 1854, May 26, 1878. 18 times.

2. Coriola.n.u.s. Srgespil i 5 Akter af Shakespeare, bearbeidet for Scenen af H. La.s.sen. Jan. 21, 1874--Jan. 10, 1876. 13 times.

3. De Muntre Koner i Windsor. Lystspil i 5 Akter af Shakespeare.

(Adapted for the stage by H. La.s.sen.) May 14, 1873, Nov. 8, 1876.

12 times.