iebel
5. Luswei
box 11/2
eu
#. 5
377
PLAYS OF THE HOUR
ideal of Rosalind, but delighted the peoples furns. HIe is killed, and the girl departs
1o weep at his grave.
of many places with a general representa¬
TPhat is all. Yet within the limitations
tion of the eternally swect and vouthful
comnedy that made the best beautics of it
keenlv felt. Her adventure with a drama
by Mrs. Sutherland, since, in association
with Miss Beulah Marie Dix, so deserved¬
Iv successful with“The Road to Vester¬
day,? was a failure without artistic dis¬
credit; but her association with the silly
plagof“Sweet Kitty Bellairs,“ undoubted¬
Ira wise business move, could only make
the intelligent grieve, while her presenta¬
tion of a badly mangled version of“ Les
Pattes des Mouche,“ and of Mrs. W. K.
Clifford's one-act tragedy of Madeleine,?
an effective but inconsequential melodra¬
matie fragment, gave noreason to appland
her as a woman of purpese.—
ASIONALLY a happr combina¬
tion of excellence in a play and the
acting of it brings to the mind of
the theatre-frequenter, with a peculiar,
almost startling rush, a rcalization of
what keen intellectual joys the play-house
is possible. The familiar round of man¬
ager-made stars and plays written to
keep within the poor confines of their
limitations lull one into forgetfulness of
the splendid possibilitics of the stage.
Then, as carlv in the season with the“The
Threc of Us’'—still happily prosperous in
art and monetary reward—our confused
vision is made to see clearly again.
Reckoning' and the acting of it raises be¬
fore us again the light that should lead
play-goers to the best. Oue is tempted to
say, rather than“How great!'—How
right!* This drama is not great; it at¬
tempts too little to be. But it is splendid
in the fineness of its perfection. It gives
something of the pleasure of a short story
by Mrs. Wharton, perfect in its valucs.
flawless in its veracity of detail and in¬
finite in suggestion. Its story is simple.
A young Austrian oflicer, wearied of his
VITTORIO AINNONELI
intrigue with a married woman in his own
AS MEFISTO IN FAUST·
social sphiere, has turned his flirtations at¬
MANHATTAN OPERA CO.
tention to the daughter ef an impecuni¬
of that inconsequential tale is an infinity
ous violinist, in a theatre orchestra. A
duel with the husband of his former of suggestion, not to be found in ten
mistress separates them; and he never re- Broadway successes'’ rolled into one. A
5. Luswei
box 11/2
eu
#. 5
377
PLAYS OF THE HOUR
ideal of Rosalind, but delighted the peoples furns. HIe is killed, and the girl departs
1o weep at his grave.
of many places with a general representa¬
TPhat is all. Yet within the limitations
tion of the eternally swect and vouthful
comnedy that made the best beautics of it
keenlv felt. Her adventure with a drama
by Mrs. Sutherland, since, in association
with Miss Beulah Marie Dix, so deserved¬
Iv successful with“The Road to Vester¬
day,? was a failure without artistic dis¬
credit; but her association with the silly
plagof“Sweet Kitty Bellairs,“ undoubted¬
Ira wise business move, could only make
the intelligent grieve, while her presenta¬
tion of a badly mangled version of“ Les
Pattes des Mouche,“ and of Mrs. W. K.
Clifford's one-act tragedy of Madeleine,?
an effective but inconsequential melodra¬
matie fragment, gave noreason to appland
her as a woman of purpese.—
ASIONALLY a happr combina¬
tion of excellence in a play and the
acting of it brings to the mind of
the theatre-frequenter, with a peculiar,
almost startling rush, a rcalization of
what keen intellectual joys the play-house
is possible. The familiar round of man¬
ager-made stars and plays written to
keep within the poor confines of their
limitations lull one into forgetfulness of
the splendid possibilitics of the stage.
Then, as carlv in the season with the“The
Threc of Us’'—still happily prosperous in
art and monetary reward—our confused
vision is made to see clearly again.
Reckoning' and the acting of it raises be¬
fore us again the light that should lead
play-goers to the best. Oue is tempted to
say, rather than“How great!'—How
right!* This drama is not great; it at¬
tempts too little to be. But it is splendid
in the fineness of its perfection. It gives
something of the pleasure of a short story
by Mrs. Wharton, perfect in its valucs.
flawless in its veracity of detail and in¬
finite in suggestion. Its story is simple.
A young Austrian oflicer, wearied of his
VITTORIO AINNONELI
intrigue with a married woman in his own
AS MEFISTO IN FAUST·
social sphiere, has turned his flirtations at¬
MANHATTAN OPERA CO.
tention to the daughter ef an impecuni¬
of that inconsequential tale is an infinity
ous violinist, in a theatre orchestra. A
duel with the husband of his former of suggestion, not to be found in ten
mistress separates them; and he never re- Broadway successes'’ rolled into one. A