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THE MAN WHO PLAYS
THE ASS."
INTERVIEW WITH MR. W. H.
DENNY.
(By our Special Reporter.)
Were it not for the exceeding geniality of
Bottom, the weaver," who on Saturday
night stewed the audience at the theatre
Royal in a slow simmer of laughter, I might
feel diffident in saying that he "played the
ass." According to the stage, however, it
takes a clever man to be a fool, and that
this is equally true of an egotistical asp
was exemplified on Saturday night. Mr.
Denny received me at the Botanic Hotel,
and we at once settled down to business.
"Do you want to hear about my na-
cavity?" he asked, "because its such a deuce
of a time ago that I don't remember
anything about it."
I remarked laughingly that not many of
us did. ,
"Well, I'll tell you this much. I
come of an artistic family. Both
my father and mother and my grand-
parents were on the stage, and an
aunt of mine, Mrs. Wooldridge - my
mother's sister was well known in Melbourne.
She died years ago, but was associated
with Mr. Coppin for a long time. I
met a grandson of hers in Melbourne. His
name is Card, and he is one of the masters
at the Melbourne Grammar School."
You took to the boards like a duck to
water, then?
"Just the same barring the water. I
was only 6 years old when I made my first
bow. It was the child's part in The
Stranger, a piece well' known then, but
rarely played now. I was horribly nervous,
and have been ever since, I don't
know whether it was noticed on Saturday
night, but twice I momentarily forgot my.
part. I think it was caused by the light-
ing arrangements. You see, with Bottom's
pare facial expression is imperative. I was
wondering whether the expression could be
seen just where I woke up in the third
act-and thinking of that matter forgot
my words. The hesitation was momentary,
and I don't think was observed. By-the-way
the Royal is a very pretty theatre in
front, but the dressing-rooms are not what
they should be. Yes, you can say I said
so, if you like. It's difficult to do comedy
when you are cold, and on Saturday night
I was positively; shivering with cold. We
all felt it, and it's most uncomfortable.. I
should like just here to add an encomium
on the mechanical staff. I have never seen
work done better especially on a first
night. The scene-work is exceptionally
heavy, and you may form an idea of how
well it was done when I say that in Melbourne
we seldom finished before 11.30,
while on Saturday night the curtain was
I down at 11.5."
Have you always played Shakespeare?
"Oh, dear, no! I used to at first, but I
have had a turn at other things, too. My
first London engagement was with Mr.
Fred Wright, and I played Banquo Macbeth
with him. Afterwards I played
Lord Jura in 'Moths with Marie Lin
ton. Kyrie Bellew was Correze, and
Charles Cartwright Prince Zouroff. Later
on I played the latter part, and I think it
and 'Bottom' are the two parts I like best.
I created the part of Noah Topping, the village
constable, in Dandy Dick, and it
was while playing that part that Sir Arthur
Sullivan saw me."
How long ago was it?
"Let me see 1890 think. Before I saw
Sullivan I didn't know what my voice was.
It seemed to me to be a cross between a
dry wheelbarrow and a buzz saw. But
Sullivan asked me to sing to him. I went
to see him. It was an awfully, hot day; I
remember, and when I started vocalising
I found my collar was so dashed tight that
I couldn't sing. What did I do? Well,
simply took it off, and so the first time I
sang before Arthur Sullivan I was partially
undressed. He said my voice was a
'basso cantante and then I wasn't much
wiser. I looked it up in the musical dictionary
when I got home and found it de
fined are neither bass or baritone, but
partaking of the qualities of both I felt
a good deal relieved when I found it was
nothing worse than that!"
Did your interview result in an engagement?
'
"Yes. I played for Gilbert and Sullivan
at the Savoy. I was the original Shad
bolt in The Yeoman of the Guards' and
the Inquisitor in The Gondoliers.' We
played the latter before Queen Victoria at
Windsor Castle, and it was the first
time an entertainment had taken place
there for thirty years-that is, 1861, when
the Prince Consort died. Her Majesty, as
usual, was punctual to the tick, and everything
went off all right, though the ladies
of the company grumbled a lot at having
to dress in the throne room. The Queen
commanded that they should, as she
thought they might peep at her as she came
through the hall. That was up against
feminine curiosity with a vengeance, wasn't
it? I was with the Savoy company for six
or seven years, leaving eventually because
an injury to both legs prevented me from
dancing. I was not very sorry, because
I never liked dancing. Last year, owing
to a family bereavement, I put my children
to school and arranged to tour America,
and then come on to Australia."
Who were you with in America?
"Mr Richard Mansfield, who is one of
the best and kindest hearted managers I
have known. Almost the last two letters
I received prior to leaving home and America
were from Mr. Mansfield in the latter
place, and Miss Alma Stanley in England.
The latter you will remember, when she
was out here eight or ten years ago. She
is now living on a private income in London.
She does no regular work, But takes
occasional engagements. Talking of coming
out, I left Baltimore on March 1,
trained it across America, and leaving
'Frisco on March 13, reached Sydney on
April 4. I travelled on my part,'' as the
saying is, and had an awfully jolly time on
the steamer. I read up the art of Touch-
stone while on the voyage. Never cared
for it before, but, between ourselves, there
was a jolly nice little widow on board, who
was travelling with her father. She read
the part for me, and well, I seemed to
learn it with startling rapidity. I have
pleasant memories of learning on moonlight
evenings in the tropics."
How did you first come to play 'Bot-
toms?"
"It was like this, today in me J. was
associated with Samuel Phelps, who was recognised
as the best exponent of "'Bot-
ten'" in England, or, probably, the world
has seen. So impressed was by his acting
that I refused to take the part on several
occasions. One day it was while I was
a member of the Savage Club, and, by the
way, I'm still an hon. member they had
been bothering me to play it, and I had
refused. W. H. Vernon-you remember
him don't ' you? came along and said,
'What's up?' Said I, They want me to
play Bottom, and I think it's too heavy for
me Vernon gave me a thump on the
back and said, Don't you be a fool. Go
straight away and accept. I did, and
well, I've never regretted it. I'm studying
the part in German now. I hope some
day to produce it in Berlin. It sounds awful
in German something like this (here
some indescribable sounds were produced) ;
but, there, the Fatherland can't help owning
its mother tongue!"
What parts have you played in Australia?
"Only Bottom and Touchstone. By the
way, do you know that Miss Cynthia Brook
is the wife of Fred Latham? Fred used to
be at the London Adelphi, then he was
managing for the Gettiss, and lately became
connected with the New York Metropolitan
Opera House. It is said that
fair Hermia will join him in New York
when her present engagement is over next
autumn."
It is premature to ask what you impressions
of Australia are?
"Yes, I'm too modest to venture more
than this, that whatever I've seen I've
been charmed with. The hills around here
are very charming, and I am anxiously waiting
for my bicycle to come so that I can
see more of them. I can live in the open
air. Cycling, golf, a gun or a fishing rod
I am at home with; and I am in good training,
as my muscles show. And as Australia
and open air are synonymous terms, no
doubt 1 carry away a good impression
when I leave these shores. Good-bye, old
chap; hope what you've got will be of some
use." I
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