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Mr. Arliss Speaks of Mr. Archer 175
Arliss with what humility and hard work Warfield approached the part.
“I can understand that,” he said. “If I evei played Shakespeare it would be with the fear of God in my heart, the fear of making an awful hash of it.” And he went on to say that an actor’s actual performance frequently was not his original conception of the part ; because an actor’s performance was restricted by his physical appearance.
“ Iago , I always feel,” he said, “should have brawn and muscle. I see Iago as quite a pleasant kind of villain — a big soldier, rather charming to look at, and not trying to be too damned subtle. But when an actor tries to make himself physically different from the way Nature molded him he’s losing the most valuable thing he brings to the stage — himself. No thin man,” he epitomized, “can play a fat part convincingly.”
“Did you ever see Tree’s Falstaff?”
“Entirely unconvincing,” said Arliss, shaking his head from side to side more in criticism than sorrow. “He was a very lean man when I saw his Falstaff, and I could always, as with the aid of an X-ray, see the thin Tree through the fat stomach.”
We talked of Tree in happier parts than Falstaff . . . and of Mrs. Patrick Campbell (with whom Arliss first came to these not inhospitable shores) in wittier roles than that of autobiographer.
Her comment on Max Beerbohm’s thicker-thanwater family-story biography of Sir Herbert Beerbohm Tree, “Why didn’t they call it ‘Our Father Which Art in Heaven’?” he recited with delicious brevity. And in the fewest possible words he narrated her answer to George Alexander’s request that his incorrigible colleague please refrain from laughing at