Moving Picture World (Jul-Sep 1914)

THE MOVING PICTURE WORLD 1355 R. Henderson Bland, Actor WeU-Known English Player Who Will Be Remembered for His Notable Portrayal in Kalem Masterpiece. By George Blaisdell. WHEN you put in eight consecutive hours in the company of a man you get a fairly accurate line on his ideas of things in general and on his work in particular— that is, if from time to time by leading questions you direct the conversation into a certain channel. On Saturday the writer had the pleasure of extending an acquaintance with R. Henderson Bland, the actor who so notably portrayed the Saviour in Kalem's famous "From the Manger to the Cross." Mr. Bland had been in the United States but ten days. It is his first visit to this country. There is much that is new and of deep interest to him; his talk reveals that he is a keen observer and possesses a mind that works rapidly. His speech is evenly deliberate, and it is picked w i t h discretion from a wide vocabulary. Mr. Bland is more than an actor. He is a poet — a real one, not of the near variety. He has issued two volumes of his works — "Poems" and "iloods and Memories." Poet and actor is an unusual combination, but surely it is a happy one. Mr. Bland's activity with the pen has not been confined to verse. The Dramatic Society of London recently p r o duced a play the joint work of Mr. Bland and Mr. Manning-Austen, entitled "Catherine the Great." In collaboration with Mrs. T. P. O'Connor Mr. Bland wrote a plav produced four years ago. He has written and produced several one-act plays. Clifiord Brooke, who has just arrived in New York, where he will be a' producer for Liebler & Co., has in his possession a play by Mr. Bland which he hopes to produce soon. Mr. Bland has contributed articles and poems to many journals and magazines. So, too, he has written songs. .\t the present time he is under engagement by the Intelligence Bureau of London — a press syndicate — to write his impressions of American life, with especial reference to clubs, the effect of the war, and to touch on the sidelights frequently unseen by the average commentator. Mr. Bland started on his stage career in 1897 with Sir Herbert Tree, with whom he remained two years. Then followed two years' strenuous work in the Provinces playing such parts as Bassanio, Laertes. Macduff, Joseph Surface, Ernest Vane in "Masks and Faces," Rudolph in "Leah," and Sir Ernest Vane in "East L}-nne." Following that experience came a long tour with the Ben Greet company in "The Three Musketeers," in which he played Athos. After an engagement at Drury Lane Mr. Bland played in "M. Beaucaire" under Louis Waller. He then toured South Africa with Mrs. Langtry. playing Oliver in "As You Like It" and Viscount Stornaway in "The Degenerates." On returning t o England Mr. Bland for a year toured the Provinces with .\ustin Melford. playing the Spider in "The Silver King." He then took w^ Herbert Waring's part in "Idols" under the Hutchinson management, and played it for six months. In Mrs. BrownPotter's company Mr. Bland created the role of the Due d'Afguillon ill "Du Bsrri," and later joined Sii R. Henderson Bland. Mr. Bland as the Christ Kalem's "From the George Alexander's company to play Detchard in "The Prisoner of Zenda." Mr. Bland's last work in London was in "Julius Caesar," where he sustained the role of Brutus, with Godfrey Tearle as Cassius and James Berry as Marc Antony. The English player makes no attempt to conceal his pride in the fact that he was a pupil of Captain Hutton, who at one time was considered the greatest fencer in Europe. The foregoing will indicate that for the last fifteen years Mr. Bland's has been a busy life. "In my e.<perience nothing has so impressed me as my work in Palestine," said the player. "The Kalem's company in the Holy Land was composed of a splendid lot of men and women, and they had marked ability of the all-around kind. They treated me with wonderful courtesy. I felt, of course, that as an Englishman coming into an American company to play the leading part I was in a delicate position. I recall an incident that happened the evening of the third day after my arrival in Jerusalem. Director O 1 c o 1 1 had come to see me in the costume of the character I was to portray. He sent for the members of the company. They filed into the room and looked at me very closely, but retired without uttering a w^ord. I didn't know what to do. It was not until after t h e work in Palestine w a s finished that M r . Olcott told me that the clayers had all come to his room straight from mine and told him they believed I was the man for the part and that they would stand by me in every possible way. It was fine of them. "It is hard to convey in words a description Mr. Bland as the Christ in the of the respect and cour Garden of Gethsemane in Katesy of which I was the lem'^ "From the Manger recipient from every one. to the Cross." I n passing through crowds I was always protected from the natives who would try to get near, sometimes to touch the garments I wore. You may understand how impressive it all was. Every effort was made to prevent anything from disturbing me. If the company were rehearsing I would be at one side, remote, until everything was ready for me to enter the scene. I was shielded in every way possible so that I might keep in the spirit of the story and the wonderful character. If you remember the portrayal I think you will agree with me that there is little of the theatrical it it." Mr. Bland is a believer in restrained acting. "I have seen inany pictures that in mj' humble opinion were spoiled by overacting. So. too. sometimes we see examples of underacting." "Was my engagement by the Kalem company rather sudden? Yes. indeed, it was a remarkable example of your .\merican quickness in doing things. I was engaged to go to Palestine in a matter of minutes or hours. You know as a rule managers would be inclined to look over every actor in London before deciding. I think Mr. Olcott was in London less than two days. "What kind of roles do I like best? Well, I have played m all sorts of characters, Shakespearean and other kinds, but as a rule I like jiarts in which there is an opportunity for all-around work, a part with a bite in it; yes, and a bit of comedv. too. My ideal of a good stage 'character is the Spider m The Silver King.' "I have noted that you Americans are a great theatergoing peo on the Mount of Olives in Manger to the Cross,"