A few days later, November 18, _Bergensposten_ reviewed the performance again and was glad to note a great improvement.
_Bergens Addressecontoirs Efterretninger_[32] agrees with _Bergensposten_ in its estimate of Johannesen. "He gives us only the villain in Iago, not the cunning Ensign who deceives so many." But Desdemona was thoroughly satisfying.
Whatever may have been its initial success, _Othello_ did not last. It was given four times during the season 1881-2, but was then dropped and has never since been taken up.
Three different groups of _Hamlet_ performances have been given in Bergen. In September, 1883, the Ophelia scenes from Act IV were given; the complete play, however, was not given till November 28, 1886. The press,[33] for once, was unanimous in declaring the production a success. It is interesting that an untried actor at his debut was entrusted with the rôle. But, to judge from the press comments, Hr. Løchen more than justified the confidence in him. His interpretation of the subtlest character in Shakespeare was thoroughly satisfying.[34]
[33. Cf. _Bergens Tidende_, November 29, 1886; _Bergens Aftenblad_, November 29, 1886; _Bergensposten_, December 2, 1886.]
[34. Cf. _Bergens Tidende_, November 30, 1886; _Bergens Aftenblad_, November 29, 1886; _Bergensposten_, December 1, 1886.]
Finally, it should be noted that a Swedish travelling company under the direction of the well-known August Lindberg played _Hamlet_ in Bergen on November 5, 1895.
It is apparent, from the tone of the press comment that a Shakespearean production was regarded as a serious undertaking. The theater approached the task hesitatingly, and the newspapers always qualify their praise or their blame with some apologetic remark about "the limited resources of our theater." This explains the long gaps between new productions, five years between _Othello_ (1881) and the complete _Hamlet_ (1886); five years likewise between _Hamlet_ and _King Henry IV_.
_Henry IV_ in Bjørnson's stage cutting promised at first to establish itself. Its first performance was greeted by a crowded house, and enthusiasm ran high. The press questions the right of the play to the title of _Henry IV_, since it is a collection of scenes grouped about Prince Hal and Falstaff. But aside from this purely objective criticism the comment is favorable.[35]