FOOTLIGHT NOTES
HAND MADE GREETINGS CARDS
Henry Ainley (1879-1945)
'Although the St. James's Theatre is not in the broad sense a "spectacular" house, Mr. George Alexander has produced Paolo and Francesca with characteristic liberality and artistic appreciation. Sheer gorgeousness does not predominate, but every detail in the play is adequately dressed and mounted.
'But Paolo does not like the poison. No! he must needs see the face of his love again, and straightway seeks her out in an arbour in the castle gardens.
* * * * * * * *
© John Culme, 2006
English actor
as Paolo in Stephen Phillips's tragedy,
Paolo and Francesca,
St. James's Theatre, London, 6 March 1902
'The reading public have become pretty familiar with the story of "Paola and Francesca," for was not Mr. Stephen's [sic] work published some two years ago? [i.e. Stephen Phillips's Paola and Francesca: a tragedy in four acts, John Lane, London, 1900.] Nevertheless I will here set down for the benefit of those who are not acquainted with it, the beautiful story, as given as the St. James's, of the two young lovers over whom always hangs - suggestive, impending, unavoidable - the dark shadow of the final tragedy.
'The curtain rises on the gloomy hall of Giovanni's castle. Its sombre architecture has been gaily decorated, for Giovanni, the tyrant, of limping gait and deformed shoulder, is this day to wed the young and beautiful Francesca da Polenta, who, "all dewy from her convent fetched," presently arrives with her escort the fair but youthful Paolo, who is Giovanni's younger brother. In her innocence this lovely maiden perhaps naturally turns to the youth for guidance, and is it to be wondered at that the friendship made thus early between them would ripen into love?
'Giovanni, however, sees nothing; but his cousin Lucrezia [Elizabeth Robins], a widow, jealously warns him of the danger of the position; but blind to everything but his lovely bridge he murmurs -
'"I took her dreaming from her convent trees;"
'to which Lucrezia answers -
'"And for that reason tremble at her more,
. . . . Youth goes toward youth."
'His old sightless nurse, Angela [Ada Ferrar], also predicts the fall of Francesca, but her prophecy is vague and amounts to nothing more than what the lover is -
'"Nor far to seek; yet perilous to find,
Unwilling he comes a-wooing; she
Unwilling is wooed; yet shall they woo."
'Giovanni does not as yet mistrust his brother, and with his arm around his neck they walk together in the marriage procession.
'The second act opens in the same scene a week later. Giovanni's departure for the war makes Paolo's position a very painful one; his resolution is sorely wring by Francesca's impulsive innocence, but he finally tears himself away, exclaiming, "Sisters, I suffer! now a last farewell."
'To Giovanni, the evil minded Lucrezia discloses her belief that his wife's lover is none other then his beloved brother, Paolo. The husband, dazed with the thought, exclaims, "Ah, gradual nature! let this thought come slow!" and swoons.
'Meanwhile Paolo is on his way to the wars, but looking back towards Rimini he is tempted to return. Then in despair he decides to poison himself that he may be laid "beautiful as a sleeper at her feet." Leaving his companions in arms he rushes to a drug-seller [H.R. Hignett] and buys the poison. It so happens that Giovanni is also at the drug-seller's, disguised, seeking a love potion that will "enthral a woman's wandering heart," and, from behind a curtain, he hears Paolo confess his love for Francesca to the drug-seller.
George Alexander as Giovanni Malastesta,
Evelyn Millard as Francesca da Rimini and Henry Ainley as Paolo Malatestra
in Stephen Phillips's tragedy Paolo and Francesca,
St. James's Theatre, London, 6 March 1902
(photo: Alfred Ellis & Walery, London, 1902)
'This is a very lovely scene. There are roses everywhere. It is scarcely dawn. Francesca, unable to sleep, enters, and in the light of a lamp sits down to read the legend of Launcelot and Guinevere. Paolo approaches and asks her what book it is she reads.
Francesca - It is the history
Of two who fell in love long years ago;
And wrongly fell.
Paolo - How wrongly?
Francesca - Because she
Always was a wife, and he who loved
Was her own husband's dear familiar friend.
Paolo - Was it so long ago?
Francesca - So long ago.
Paolo - What were their famous and unlucky names.
Francesca - Men called him Laucelot, her Guinevere.
Here is the page where I had ceased to read.
'Paolo takes the book, and putting out the lamp - for the rosy morning sun is rising - the two lovers read the romance together; this exquisite love scene ending with the lines: -
Paolo (reading) - "Now they two were alone, yet could not speak;
But heard the beating of each other's hearts.
He knew himself a traitor but to stay,
Yet could not stir: she pale and yet more pale
Grew till she could no more, but smiled on him.
Then when he saw that wished smile, he came
Near to her and still near, and trembled; then
Her lips all trembling kissed."
Francesca - (drooping towards him) - Ah, Launcelot!
(He kisses her on the lips.)
'In the last act, Giovanni - returned from the Palace after two days' absence - is informed by Lucrezia that Paolo is not dead. She urges him to pretend to go away again that he may return and find the lovers in their guilt. His wife implores him to stay, but he goes, and Paolo in due course gains admission to the castle, and after a scene in which without restraint they declare their love, the two lovers pass through the curtains.
'And now comes the long delayed tragedy. Giovanni has returned. We see him dash through these same curtains, and, with white face and hands dripping with blood, totter down the steps. He has slain the lovers, and shouting "They shall be married before all men," he orders the bodies to be carried out on a litter. Lights are brought and the castle chamber is thronged with an excited crowd. Giovanni is moaning -
"Unwillingly
They loved, unwillingly I slew them. Now
I kiss them on the forehead gently . . . .
Hide them. They look like children fast asleep!"
'And stooping over the litter he kisses them tenderly as the curtain falls.
'The acting is a triumph for the English stage. Mr. Alexander's Giovanni is one of the finest and most powerful of his many impersonations. Henry Ainley (who was a member of Mr. [F.R.] Benson's company) has made a most decided hit as the handsome Paolo, and Miss Millard, bewitchingly attired, has never looked lovelier than as Francesca, a part which she plays to perfection.'
(The Playgoer, London, April, 1902, pp.48-50)