The musico-scenic method of producing Shakespeare can always
count on the applause of the average multitude of playgoers, of which
Pepys is the ever-living spokesman. It is Shakespeare with scenic
machinery, Shakespeare with new songs, Shakespeare with incidental
music, Shakespeare with interpolated ballets, that reaches the heart
of the British public. If the average British playgoer were gifted
with Pepys's frankness, I have little doubt that he would echo the
diarist's condemnation of Shakespeare in his poetic purity, of
Shakespeare as the mere interpreter of human nature, of Shakespeare
without flying machines, of Shakespeare without song and dance; he
would characterise undiluted Shakespearean drama as "a mean thing," or
the most tedious entertainment that ever he was at in his life.
But the situation in Pepys's day had, despite all the perils that
menaced it, a saving grace. Great acting, inspired acting, is an
essential condition to any general appreciation in the theatre of
Shakespeare's dramatic genius. However seductive may be the
musico-scenic ornamentation, Shakespeare will never justly affect the
mind of the average playgoer unless great or inspired actors are at
hand to interpret him.
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