Georgius Rex. Handsome Geore Rignold. His Australian Career.

Here we have a pencilled Pasquinade of Mr. George Rignold, an actor who has been popular in Australia for 23 years past, since he first, on August 28, 1876, appeared on the Australian stage. Then, in the prime of early manhood, and of handsome personality, he appeared as Henry V. He at once became a favorite and earned a popularity which he for years continued to enjoy, and which, in some degree, is still his.

That he fails to attract the public now to anything like the extent he did some years ago is unfortunately true. This lies, not however, so much with the actor as with the audience. As Truth has already pointed out Sydney audiences do not want good drama. Though Mr. Rignold gave as fine pro ductions of the higher drama and Shakespeare as Australia ever saw, the public, which had cultivated a taste for shrieking sensationalism and melodramatic monstrosities commenced to stay away, patronising in preference to Rignold and Shakespeare, those dramas in which fires, railway accidents and shipwrecks played the principal part.

Mr. Rignold tried to follow popular taste. Appearing in melodrama and in the character of persecuted heroes, the public found Mr. Rignold was a d — d bad actor. So he was — in those roles. His training was to blame. He had never been taught to vault through a hoop, nor to throw a flipflap. He never even learned how to properly regulate his limelight.

Increasing years and increasing girth, in addition to this lack of training, soon made Rignold absolutely unfit for juvenile leads — even with the aid of the limelight. Still he might have retained a great hold on the public had he 'played down' to them a little more. Finding audiences were not taking to his juveniles, he should have sunk himself and let some younger man take his place. He, however, was ill-advised enough not to do this, and soon it came about that people said ' Rignold is done.' His last season in Sydney was anything but successful. Audiences could not understand the introduction of the old school of acting into the new drama ; and they did not care for a portly hero. So he failed.

Mr. Rignold intends shortly commencing a season of Shakespeare, when he will appear as Othello. This season will commence at the Criterion at Easter. The character of the jealous Moor is one in which Mr. Rignold should be successful, if a too long acquaintance of late years with the melodramatic stodge of a 'Tommy Atkins,' etc., has not spoiled him. Anyway, Truth, without wishing in the slightest to prejudge the performance, is anticipating a success. Much of course will depend upon the support accorded him, and it is to be hoped Mr. Rignold will lose no chance of securing the very best talent available.

In view of the approach of this season, Truth thinks this an opportune time to re view some of Mr Rignold's successes in the higher drama, as far as Australia is concerned.

As already said, his first appearance, was as Henry V. and at the Theatre Royal on August 28th, 1876. It was a fine performance and was received with spontaneous enthusiasm. Supporting Mr. Rignold in the important roles of Fluellin and Pistol were Messrs Thorne and Bartlett respectively. The whole production was on a high plane and ran for several weeks. When he left us seven years elapsed before he again appeared, then, on the 12th February 1883, the Theatre Royal curtain once more rose on Rignold and Henry V. The Catherine of this production was Miss Emily Fitzroy. Again a big success was scored. Mr. Rignold's Henry V. was indeed a truly fine piece of work, rich in dramatic intensity, perfect in elocution, and Shakespearian in conception.

Another lapse and again we find Rignold at the Royal. This time, however, we have not Shakespeare. Instead, is given drama with a taste of that scenic and spectacular splendor for which he afterwards earned so big a name. Thus we saw him in "Called Back," a dramatisation of Hugh Conway's successful but gloomy novel, and "Youth," a military drama. Here, Mr. Rignold did good business, a fact which may have had much to do in inducing him to take the important step of leasing, in partnership with the late Mr. James Allison, the then building theatre which has since become the most popular play-house in Sydney — Her Majesty's.

It was on September 10, 1887, that the curtain rose for the first time in the hand some theatre at the corner of Market and Pitt Streets. An enormous audience graced the occasion. The bill provided was even more than was demanded. 'Henry V.' was the attraction, and it was produced on a scale of magnificence such as has rarely been seen in any theatre in the world. It was interpreted, too, by a fine cast which included, among others, BrienDarley, Greville, E. C. Corlesse, Sterling White, C.Holloway J. Tolano, all then in their prime, and the Misses Emily Fitzroy, Annie Taylor and Lillian Clithero.

Then succeeded a season of fine productions in which Shakespeare was varied by melodrama — melodrama of the wholesome and clean type which we now rarely see. " In the Ranks," " The Lights of London," "The Vendetta" (a dramatisation of Mr. Barnes of New York), "Madame Midas," and "Faust," comprised a succession of highly estimable performances. On August 24th, 1889, a superb production of " Julius Caesar" delighted Sydney. In this performance Mr. Rignold appeared as Marc Antony, which impersonation many people think eclipsed even his great Henry V. Mr. J. F, Cathcart was a very fine Brutus, and Mr. Harry Jewett's Cassius, with Miss Kate Bishop's Portia, left little to be desired. Green in the writer's memory of that production are recollections of Mr. Rignold intensely dramatic and feeling delivery of Marc Antony's oration, and the fine scene in the tent between Brutus and Cassius. Mr. Rignold was tendered a public dinner to commemorate this event. The fine tragedy — remarkable for the general excellence of the acting brought to bear on its interpretation, and the superb nature of its mounting and scenic effects — ran for eight weeks, attracting big audiences nightly.

Still another Shakespearian treat was in store for playgoers when on the Christmas Eve following was produced " A Midsummer Night's Dream," with every advantage that dressing, scenery and general mounting could give it. The grand old play was warmly received and had a big run. Melodrama again succeeded, and a very fine production of "Now-a-days" was given, remarkable not alone for the drama's success but also for the first appearance in Sydney of Mr. William Rignold, who during his stay in Australia won all hearts by his very fine performances in a round of trying characters. Shakespeare was soon again invoked, "Macbeth" being the bill. However, the result was by no means satisfactactory. Mr. Rignold's interpretation of the title role was good, and on the same high plane as his previous Shakespearian work. Unfortunately Lady Macbeth proved herself unequal to the demands made upon her. Charming and clever actress though she was, Miss Janet Achurch was by no means a satisfactory Lady Macbeth and the Macduff of the production, Mr. Charrington, can only be described as being distinctly bad. Following " Macbeth" were fine performances of " The Corsican Brothers " and "The Lyons Mail." Then came the production of " The Merry Wives of Windsor,' a production, the like of which for all round excellence has rarely, if ever, been seen in Australia. Mr. William Rignold was the Sir John Falstaff, and of those who had the fortune to witness his fine work who is likely to forget it ? Physically fitted for the part, rich in rolling, unctuous humor it is questionable if a more perfect Falstaff can be imagined. The cast all through was good. Mr. George Rignold's Ford was fine, and Misses Kate Bishop and Roland Watts Phillips made a pair of very excellent wives. That production is something to look back on ; its equal is something to long for. Vainly? Let us hope not.

Since Mr. Rignold left Her Majesty's Theatre, he has drifted hither and thither making fugitive appearances at various theatres. The hero in melodrama has been his highest work. He has been distinctly bad in this line, and Truth is supremely anxious never to see him in such roles again. In his forthcoming season at the Criterion, Truth wishes him success as long as he keeps to that line of drama for which his ability and brain eminently fit him. Given Shakespeare and the higher drama, and Truth is on the side of Georgius Rex. Let him degrade himself again into playing juveniles in melodrama, and Truth will pray for his speedy damnation.

With this brief sketch we leave Handsome George. Veteran he is ; superfluous ? Well, not yet ; far from it.