Provocative 'Hadrian VII' Punctuated by Lightning

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By PETER BELLAMY NEW YORK There may be some wonder as to the exact intent of the provocative, literate drama, "Hadrian VII," but there's no doubt that Alec McCowen's exciting perform ance is akin to flashes of lightning.

Nor is there any question that this play at the Helen Hayes Theater is rich in gorgeous pageantry.

“Hadrian VII” was written by Peter Luke, an English playwright. It is based on the novel of the same name by Frederick William Rolfe, a ne'er do well near

genius and paranoid homosexual..

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Rolfe was discharged from a Roman Catholic seminary for painting at the expense of his theological studies and expelled from the Scots College in Rome for having no vocation for the priesthood. He was variously a teacher, painter, photographer and painter. He lived and died in pover-

ty.

PLAY and novel are ob vious fantasy. They cause stimulating speculation as to whether Rolfe wrote the novel as mordant satire or in revenge on the church

which twice rejected him. But motives aside, it makes for great theater.

"Hadrian VII" supposes the election of an English pope of that name in the early part of the 20th centuearly part of the 20th century, the first English pope to be elected since the 12th century.

gurates a program of great reform in the church. He wants to sell the Vatican treasures and spend countless millions to aid the poor. He puts an embargo on all newspapers at the Vatican.

This vicar of Christ inau-

His attitude is that the church should depend on free will offerings, and if they do not come, "then starve and go to heaven.' His policies lead to great op. position in the College of Cardinals and to eventual melodramatic martyrdom at the hands of a fanatic.

The cardinals and the pope in this case are treated as human beings with great failings. Several of the cardinals act like ward heelers at the time of the pope's election.

THE PONTIFF smokes cigaretts on the papal throne. He declaims: "You are natural Christians. I am a religious maniac." He finds most people repulsive and the curves and forms of women a waste. As the Papal secretary of state says; "He has all the humility of a Neopolitan tenor.'

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The play would be offen sive were its portrayal of a pope not the personalized dream of a madman—a creature worn out in body and soul, incapable of giving or receiving love. It is filled with caustic wit and irony. It evokes compassion and pity. Hadrian could be of any religion.

McCowen has an exhausting role. Hhis dual role of Rolfe and Hadrian demand he be a man of all moods. He must whimper, shriek and roar. He must manifest hysteria which suggests he's about to burst a blood vessel. He must be arrogant, merciful and desperate.

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One sees the drama of the church in all its majesty and color when scarlet robed cardinals march down the theater ailes to name a new pope and when the stage is filled by the Swiss guards, acolytes and seminarists. Incense fills the nostrils. Chants and organ music reach the ear.

Director Peter Dews has sharply contrasted the play's moods of reality and fantasy Robert Fletcher is responsible for the striking settings and costumes. Lloyd Burlingame's lighting is dramatic.

The cast is a large one with out weakness. Louis Zorich is most amusing as an Italian prelate aghast at the idea of an English pope. Gerard Parkes, Marie PaxIton, Sydney Sturgess and Christopher Hewett shine in other supporting roles.