118
ual
Kant
2e
nath
but
isor
w.“
#een
und
ton
Do
112
whellg confined. Fanny Theren, an actres
in u small wag at a Vienna theater, has
had anaffatr with one Dr. Frederiek Witte,
a gag Foung blood by wnom sho has been
abandoned. At her home, where her elder
sister knows of her pant and her fussy,
trivial mother ’sits around seeing nothing,“
she meets and falls in love with a young
author, Theodore Denner.
Tho atmosphere of thls home is presented
with all the expertness in detall, which
gives Ibsen so large a measure of his au¬
premacy. There Is a gatbering of the neigh¬
bors—it is Preceining day'—and they troop
In by twos and threes, the silly young giri
from down the strect who Is “slmply deter¬
mined“ to go on the stage, the rolllcking
artist with his vislonary friend, the novel¬
ist, the comically elegant brothor of Fanny's
one-time lover (a touch of tragedy here),
and Denner. All are argumentative, and.
the conversation turning to woien, Den¬
ner announces to his protesting elders his
Vfairer“ creed regarding lapses from virtue.
Women, he declares, “have allowed
themselves to be fooled for centuries, be¬
cause In our immensurable vanity we men
must be the only and the flrat. It is time
thatthe world should be free from the falry
tale of the fallen woman.“
It is In this first act that Mme. Nazimova
displays her art to best advantage—and that
It is a wonderful art no one can deny. Mov¬
Ing nervously from one side of the stage to
the other, she keeps her eyes dumbly on
Denner, hanging upon his every word. When
he speaks intimately of her role in a forth¬
coming play, that of “a milliner who ls more
comfortable afterwerd.“ and protests that
awoman such as she could not put her real
seif into such à part, sho glorifles him with
a look of appeallng gratitude. When he
leaves the room she kisses his hand silently,
with a gesture that Is infinitely touching.
And when she speaks, after his leaving,
there are unshed tears in her volce.
Somo one has sald that the fairy tale“
Is Conly talk.“
It ian't talk,“ she murmurs pltifully.
It’s kindness—kindness kindness.“
The second act brings the gasps, the sobs,
the writhings and the undulations. Denner
has brooded over Fanny’s past and finds his
Pfairer“ creed tottering. The girl, desper¬
ate at his failure to visit her, goes to him
in his apartments and pleads for Just one
kind worl.“ Denner, lashing himself into
à furg of Jealonsy, compels her to relate
the story of her misdeeds, and this she
dees, lring prone on a ralsed dals at the
rear of the stage, rolling half way down
the steps In her angulsh, and finally falnt¬
Ing floppily in her lover’s arms. As the
recital begins the stage is darkened gradu¬
ally almost to absolute blackness and an
unearthly light streams down from above.
is all very harrowing. One wonders
ahat Herr Schnitzler would think of ft.
Wich the final act the action returns to
Fanny’s home and brings the test. The
neighbors are gathcred ngaln to celebrate
che actress’ success In her new play anl
the wedding of Fanny’s elder sister. After
all.“ sars this Clara Theren, Vone has 10
live, and I'm not of the artistic tempera¬
ment.“ Fanny has attracted the attention
of a theatrical agent from St. Petersburg
and is urged to sign a contract for a sea¬
son at the metropolls. She leaves the de
cision to Denner, pleading in a woman's
way, as the neighbors lock on, that she be
urged to stag with her lever. But Denne:
has revised his code, and he bids her go.
Verg well.“ she says quletly after she
has worn herself out with her plending.
*I'm tired of going on my knees t0 a man
who is not one whit better than myself.“
Andto her sister, who enters with anglous
Ingulries:
Nothing unusual, It’s over once agaln,
that’s all. I know my way now.“
That was the evening In brief-fleeting
moments of tense, wonderful acting, acting
suchas perhaps not an American woman
Iiving to-day could equal, set In a dreary
mück of ranting and theatrieals that almost,
but not quite, robbed the ploy utterly of 1t8
verisimilitude.
The supporting company, almost withont
exception, was ekcellent. Lack of space
forblds any detalled reference to lt, but
especially noteworthy were Mrs. Jacques
Martin as the fussy mother, Miss Eisie Es¬
mond as a stately actress of much sophistl¬
cation, and Orlando Daly and Thomas Rus¬
sell in two comedy roles that did much to
ighten the general burden of things.
Suxrranb Burznk.
bos 7/2
3. Das Maerchen
4
CIII6400 DA1I
sceile bidls hei
d0 so. She has largely
APPEARING IN VAUDEVILLE
curbed her inclination to squirm Throngh
play, und we get in The Fairy Tale“
DOWNTOWN THEATERS
Fan oecasional flash of genulne acting of the
kind with which she glorilles The Mas¬
MREMMOVI
ter Builder.“
In
The Fairy Tale“ Sehnitzler, again
W
takes un the old subject of what is saue¬
rche gander is sauce for the goose. Ho
uts a möoning goung poet in love with a
Polsiots PEirtgtpronising voung nerress. und inte ihe
orl’s mouth he. puts speeches glorifying
the woinan who falls. The story of sin he
4
c0
alls a fairg tale, but the youngster's
philosophy falis him ehen he finds the
Actress Appears at the Garrick
3
woman de loves is the type of woman ho
as bech defending, and he puts her from
in Schnitzler's “The Fairy
im.Te storg of the fallen woman may
a falrg tale.“ he then tells her to whom
platitudes have been so füll of hope,
Tale“: Gossip of the Stage
nt.“ he adds.
ethere is another fairy
ery u thonsand eimes mere treacherous
d dereptive and Chat is the fairy tale of
By o. L. HALL
fallen woman sho reformed.“
the end, after a veriod of homillating
In pürzuing her erreer as a theatrien!
ipplication. Fanny puts an end to her
espertress Mme. Nazimova has come
for rebabiliration.1 am tred,“ she
pon oue of Arthur Schnitzler's kempern¬
the man she loves, Pof going on my
mental hereines, che Fanny Theren of th..
3 man hei n whlt better than
ronedg“ Das Murchen.“ An English ver
relf. Weiwo have ceine te the parting
sion of the play, made by Nina Lewton and
our ways. (Famillar old line.) Go. and
calledThe Fairy Tale.“ was given
et me us I will forget yon.
frst performance last night at the Garriel.
The love
shes From che room, and Funny’s s18t
theater before a large assemblage of goodl
ines In, Inqutring of
Isteners, the studlons attitude of the gath¬
the
PON
ering being explained in part by che whls¬
thing unusual.“ gara Fanny.i's 0
again. that’s all.“
pered statement that the drama league war
ilberalig represented.
Nearig all the dialogue in the play be¬
Oue has no desire to rase The stump 6
nite directly on the theme. There
Approval ihus put upen ihe play and i
love, and abuse of reprobates; ther
plager.
but one dees long te say ihat
hampionship of the erring, and.
plays abeut courtezans grow more Hre¬
estraying: but at last te-deed of
some in the same ratio that they multipiy
Tharacter simply shows, and prop
The theater.
The closest parallel to Geourse, that neither small phllosoph
he Fairr Tale“ we have in dur narive
sponting idealists can ehange t
drat
Engene Waller's distastefnlex
tsorietg fn the slightest degree
position Easiest Wny.
Schultzier
halks nummsturianism ihe londe
writes the more effeetive platiinde; Waller
stenst humanitarian.
hegs the vloser tothe line of fact, Schnitz¬
Fanny Theren advances in this
1er rends the better
Walter plays the
obschritg to fame, and she 18 show
more direetig and dramatieally. Geing ouf¬
qutte famillar and ever s0 commt
eide our native drama we And another pur¬
putting lote above che apelau
allel to •The Fairy Tale“ in Arthur Wing
world. There are moments ab
Pinero's Tris.“ and is we go to the con¬
Rienlar period in Fanny’s life w
iinentals we dliscover In Magda“ another
might be happy. Nazimova aels
plär remotely resembling the composition
oue mood. The oniy varlety she
in which Nazimova nor interests herself.
part comes in an bchsional en
Frescendo; she does not rely al all
Some of us have not Fet advanred far
e lightness that must lie in the
enougn in ourcxamination of the drama
any woman who attracts men al
to diseover why ihe stage should be made
oos. Nazimova makes her a rather di
place for The Ilnstration and disenssion
d gloomg lgure, dressing her mostly
the Hlleit Camours of women of the
9 or blach. She uffeets now che Hlm
type of Fanny Theren. She 18 n voung
Kred uncentered gaze and again ihe wide¬
woman of ne virtue. She Feurhs, of eourse,
ed lock of fear or louthing. There is
as she must in a play, to be a better
Hothing surer in the world than that Nazi¬
woman, and she suffers, but reformation
mova can act: her prinelpal fault is that
does not reside in her remorse, It is the
ften she docs not know when to stop.
way with most fallen heroines.
Jany things she dees wich remarkable di¬
can not be denied that such charar¬
eetness and wich electrical effect; agaln,
ters offer an opportunity 1o che hetroßs
through excess, she ln tedious and diffuse.
Who is skilled in pieturing the methods
employed by the random and professional
Mme. Nazimova has a better company
wober, and who is expert in counterfeit¬
than she had when she last vistted Chi¬
ing the sometimes persuasive hysterin a.¬
cago, although several of the more capable
W
tending such a woman’s disappolntment
□
members of her entourage are wasted
when she glasps at honest love und misses
upon parts of intie importance. The best
Mme. Nazimova finds Fanny Theren
11.
aeting provided by the star's assistanis
VV Andrew, Mack.
thankful role in that it provides her
comes from Fred L. Tiden, who gives a
with the chance to show what a whirlwind
ASTI
natural, casy Impersonation of a philo¬
Fran be set up by an ingenuousiy seduetive
sophle artist. Consistent impersonations,
goung wonian. The netress plays with à
neither better nor worse than the usual
Tinuch more natural touch than when she
run, are given by Gertrude Berkeley as
last emerged here in new plays, but she
Fanny's sister, Teresn Maxwell-Conover as
Patill damages her performances br #xces¬
an actress-friend, Mrs. Jacques Martin as
Estve and incessant pantomime, which she
Fanny's mother, Edward R. Mawson as a
employs often withont rhyme
0r reason.
grim member of the bohemlan set, and
EBut she hus a genuine note of power, and
Elsie Esmond as à stage-struck girl.
Pebe enn set the stage ablaze shen the Race Dunrobin, a well-chosen type, plays
30
TTRINL Indöur Onn
SO FREE
Home
W
Bessie Greenwood.
WUBrVILLE& OschesTe Mu
1
s a voung novelist, and Brandon Tyna
unsteady in bis lines, aets as Fanny
M
lover. There are several other parts, a#
most of them äre in the way.
A MPRS SRRTT
Gereseungenh Do. 42 Wewenhe
FUr nallin ontnardon
ual
Kant
2e
nath
but
isor
w.“
#een
und
ton
Do
112
whellg confined. Fanny Theren, an actres
in u small wag at a Vienna theater, has
had anaffatr with one Dr. Frederiek Witte,
a gag Foung blood by wnom sho has been
abandoned. At her home, where her elder
sister knows of her pant and her fussy,
trivial mother ’sits around seeing nothing,“
she meets and falls in love with a young
author, Theodore Denner.
Tho atmosphere of thls home is presented
with all the expertness in detall, which
gives Ibsen so large a measure of his au¬
premacy. There Is a gatbering of the neigh¬
bors—it is Preceining day'—and they troop
In by twos and threes, the silly young giri
from down the strect who Is “slmply deter¬
mined“ to go on the stage, the rolllcking
artist with his vislonary friend, the novel¬
ist, the comically elegant brothor of Fanny's
one-time lover (a touch of tragedy here),
and Denner. All are argumentative, and.
the conversation turning to woien, Den¬
ner announces to his protesting elders his
Vfairer“ creed regarding lapses from virtue.
Women, he declares, “have allowed
themselves to be fooled for centuries, be¬
cause In our immensurable vanity we men
must be the only and the flrat. It is time
thatthe world should be free from the falry
tale of the fallen woman.“
It is In this first act that Mme. Nazimova
displays her art to best advantage—and that
It is a wonderful art no one can deny. Mov¬
Ing nervously from one side of the stage to
the other, she keeps her eyes dumbly on
Denner, hanging upon his every word. When
he speaks intimately of her role in a forth¬
coming play, that of “a milliner who ls more
comfortable afterwerd.“ and protests that
awoman such as she could not put her real
seif into such à part, sho glorifles him with
a look of appeallng gratitude. When he
leaves the room she kisses his hand silently,
with a gesture that Is infinitely touching.
And when she speaks, after his leaving,
there are unshed tears in her volce.
Somo one has sald that the fairy tale“
Is Conly talk.“
It ian't talk,“ she murmurs pltifully.
It’s kindness—kindness kindness.“
The second act brings the gasps, the sobs,
the writhings and the undulations. Denner
has brooded over Fanny’s past and finds his
Pfairer“ creed tottering. The girl, desper¬
ate at his failure to visit her, goes to him
in his apartments and pleads for Just one
kind worl.“ Denner, lashing himself into
à furg of Jealonsy, compels her to relate
the story of her misdeeds, and this she
dees, lring prone on a ralsed dals at the
rear of the stage, rolling half way down
the steps In her angulsh, and finally falnt¬
Ing floppily in her lover’s arms. As the
recital begins the stage is darkened gradu¬
ally almost to absolute blackness and an
unearthly light streams down from above.
is all very harrowing. One wonders
ahat Herr Schnitzler would think of ft.
Wich the final act the action returns to
Fanny’s home and brings the test. The
neighbors are gathcred ngaln to celebrate
che actress’ success In her new play anl
the wedding of Fanny’s elder sister. After
all.“ sars this Clara Theren, Vone has 10
live, and I'm not of the artistic tempera¬
ment.“ Fanny has attracted the attention
of a theatrical agent from St. Petersburg
and is urged to sign a contract for a sea¬
son at the metropolls. She leaves the de
cision to Denner, pleading in a woman's
way, as the neighbors lock on, that she be
urged to stag with her lever. But Denne:
has revised his code, and he bids her go.
Verg well.“ she says quletly after she
has worn herself out with her plending.
*I'm tired of going on my knees t0 a man
who is not one whit better than myself.“
Andto her sister, who enters with anglous
Ingulries:
Nothing unusual, It’s over once agaln,
that’s all. I know my way now.“
That was the evening In brief-fleeting
moments of tense, wonderful acting, acting
suchas perhaps not an American woman
Iiving to-day could equal, set In a dreary
mück of ranting and theatrieals that almost,
but not quite, robbed the ploy utterly of 1t8
verisimilitude.
The supporting company, almost withont
exception, was ekcellent. Lack of space
forblds any detalled reference to lt, but
especially noteworthy were Mrs. Jacques
Martin as the fussy mother, Miss Eisie Es¬
mond as a stately actress of much sophistl¬
cation, and Orlando Daly and Thomas Rus¬
sell in two comedy roles that did much to
ighten the general burden of things.
Suxrranb Burznk.
bos 7/2
3. Das Maerchen
4
CIII6400 DA1I
sceile bidls hei
d0 so. She has largely
APPEARING IN VAUDEVILLE
curbed her inclination to squirm Throngh
play, und we get in The Fairy Tale“
DOWNTOWN THEATERS
Fan oecasional flash of genulne acting of the
kind with which she glorilles The Mas¬
MREMMOVI
ter Builder.“
In
The Fairy Tale“ Sehnitzler, again
W
takes un the old subject of what is saue¬
rche gander is sauce for the goose. Ho
uts a möoning goung poet in love with a
Polsiots PEirtgtpronising voung nerress. und inte ihe
orl’s mouth he. puts speeches glorifying
the woinan who falls. The story of sin he
4
c0
alls a fairg tale, but the youngster's
philosophy falis him ehen he finds the
Actress Appears at the Garrick
3
woman de loves is the type of woman ho
as bech defending, and he puts her from
in Schnitzler's “The Fairy
im.Te storg of the fallen woman may
a falrg tale.“ he then tells her to whom
platitudes have been so füll of hope,
Tale“: Gossip of the Stage
nt.“ he adds.
ethere is another fairy
ery u thonsand eimes mere treacherous
d dereptive and Chat is the fairy tale of
By o. L. HALL
fallen woman sho reformed.“
the end, after a veriod of homillating
In pürzuing her erreer as a theatrien!
ipplication. Fanny puts an end to her
espertress Mme. Nazimova has come
for rebabiliration.1 am tred,“ she
pon oue of Arthur Schnitzler's kempern¬
the man she loves, Pof going on my
mental hereines, che Fanny Theren of th..
3 man hei n whlt better than
ronedg“ Das Murchen.“ An English ver
relf. Weiwo have ceine te the parting
sion of the play, made by Nina Lewton and
our ways. (Famillar old line.) Go. and
calledThe Fairy Tale.“ was given
et me us I will forget yon.
frst performance last night at the Garriel.
The love
shes From che room, and Funny’s s18t
theater before a large assemblage of goodl
ines In, Inqutring of
Isteners, the studlons attitude of the gath¬
the
PON
ering being explained in part by che whls¬
thing unusual.“ gara Fanny.i's 0
again. that’s all.“
pered statement that the drama league war
ilberalig represented.
Nearig all the dialogue in the play be¬
Oue has no desire to rase The stump 6
nite directly on the theme. There
Approval ihus put upen ihe play and i
love, and abuse of reprobates; ther
plager.
but one dees long te say ihat
hampionship of the erring, and.
plays abeut courtezans grow more Hre¬
estraying: but at last te-deed of
some in the same ratio that they multipiy
Tharacter simply shows, and prop
The theater.
The closest parallel to Geourse, that neither small phllosoph
he Fairr Tale“ we have in dur narive
sponting idealists can ehange t
drat
Engene Waller's distastefnlex
tsorietg fn the slightest degree
position Easiest Wny.
Schultzier
halks nummsturianism ihe londe
writes the more effeetive platiinde; Waller
stenst humanitarian.
hegs the vloser tothe line of fact, Schnitz¬
Fanny Theren advances in this
1er rends the better
Walter plays the
obschritg to fame, and she 18 show
more direetig and dramatieally. Geing ouf¬
qutte famillar and ever s0 commt
eide our native drama we And another pur¬
putting lote above che apelau
allel to •The Fairy Tale“ in Arthur Wing
world. There are moments ab
Pinero's Tris.“ and is we go to the con¬
Rienlar period in Fanny’s life w
iinentals we dliscover In Magda“ another
might be happy. Nazimova aels
plär remotely resembling the composition
oue mood. The oniy varlety she
in which Nazimova nor interests herself.
part comes in an bchsional en
Frescendo; she does not rely al all
Some of us have not Fet advanred far
e lightness that must lie in the
enougn in ourcxamination of the drama
any woman who attracts men al
to diseover why ihe stage should be made
oos. Nazimova makes her a rather di
place for The Ilnstration and disenssion
d gloomg lgure, dressing her mostly
the Hlleit Camours of women of the
9 or blach. She uffeets now che Hlm
type of Fanny Theren. She 18 n voung
Kred uncentered gaze and again ihe wide¬
woman of ne virtue. She Feurhs, of eourse,
ed lock of fear or louthing. There is
as she must in a play, to be a better
Hothing surer in the world than that Nazi¬
woman, and she suffers, but reformation
mova can act: her prinelpal fault is that
does not reside in her remorse, It is the
ften she docs not know when to stop.
way with most fallen heroines.
Jany things she dees wich remarkable di¬
can not be denied that such charar¬
eetness and wich electrical effect; agaln,
ters offer an opportunity 1o che hetroßs
through excess, she ln tedious and diffuse.
Who is skilled in pieturing the methods
employed by the random and professional
Mme. Nazimova has a better company
wober, and who is expert in counterfeit¬
than she had when she last vistted Chi¬
ing the sometimes persuasive hysterin a.¬
cago, although several of the more capable
W
tending such a woman’s disappolntment
□
members of her entourage are wasted
when she glasps at honest love und misses
upon parts of intie importance. The best
Mme. Nazimova finds Fanny Theren
11.
aeting provided by the star's assistanis
VV Andrew, Mack.
thankful role in that it provides her
comes from Fred L. Tiden, who gives a
with the chance to show what a whirlwind
ASTI
natural, casy Impersonation of a philo¬
Fran be set up by an ingenuousiy seduetive
sophle artist. Consistent impersonations,
goung wonian. The netress plays with à
neither better nor worse than the usual
Tinuch more natural touch than when she
run, are given by Gertrude Berkeley as
last emerged here in new plays, but she
Fanny's sister, Teresn Maxwell-Conover as
Patill damages her performances br #xces¬
an actress-friend, Mrs. Jacques Martin as
Estve and incessant pantomime, which she
Fanny's mother, Edward R. Mawson as a
employs often withont rhyme
0r reason.
grim member of the bohemlan set, and
EBut she hus a genuine note of power, and
Elsie Esmond as à stage-struck girl.
Pebe enn set the stage ablaze shen the Race Dunrobin, a well-chosen type, plays
30
TTRINL Indöur Onn
SO FREE
Home
W
Bessie Greenwood.
WUBrVILLE& OschesTe Mu
1
s a voung novelist, and Brandon Tyna
unsteady in bis lines, aets as Fanny
M
lover. There are several other parts, a#
most of them äre in the way.
A MPRS SRRTT
Gereseungenh Do. 42 Wewenhe
FUr nallin ontnardon