Lancaster daily intelligencer. [volume] (Lancaster, Pa.) 1864-1928, 1881-09-07
LOCAL INTELLIGENCE.
THE DRAMA.

BARLEY CampDell's Galley Slave Last Night.
There is in Mr.. Campbelfs successful
work, - The Galley Slave" an abundance
of dramatic situations and picturesque
periods that more than compensate for
certain improbabilities of incident which
reveal themselves upon 4 critical examina-
tiOn while the tritcness of the theme is
scarcely noticeable in the treatment it
has received at the pen of the clever
author. The spectacle Of brave, heroic
man submitting himself to ignOminy and
disgrace to shield the good name Of a
pure and deeply-wrOnged woman has so
often been presented in various shapes that
Mr. Campbelfs work is all the more worthy
of cOmmendatiOn in the faculty which it
retains of engaging continued interest
even though the spectator feels that he
has seen the same thing before with incon-
sequential variations. The story is familiar
to our readers and needs no repetition here.
OF the manner of its production there can
be but one verdict ; it was as near fault
less as such performances can be made.
Miss Maud Granger, who headed the un-
commonly strong company with which
our friend Mishler favored us on this Oc.
casion, stands in want Of no introduction,
being an actress of national reputation
and local favor. Into her impersOnatiOn
of the role of Francesca Remeni, whose own
misfOrtunes, supplemented by 4 very ma
tural mistake into which she fell, entail il
crushing weight of Woe upon the Ameri-
can heroine, Miss Granger infused all the
intensity of feeling and dramatic force
that have given her such conspicuous
rank in the school Of emotional" art.
The part is difficult one that is. there
are several situations that are most exact
ing in their demands in order that tho full
effect may be produced, and to them all
the actress responded nObly, evincing 4
breadth OF ability and reserve power that
was in the nature of u revelation even to
those who suppose themselves acquainted
with Miss Changers conceded capacity.
The expression OF grief and suffering, sub
dued but prolonged, that the Italian wO-
man constantly bears was an admirable
counterfeit prcsentiment and striking i'll
it's effect upon the apprehension of the
audience, which, by the way, was 4 singu-
larry sympathetic and impressib!e one,
as the liberal use of pocket handkercIiefs
and undeniable moisture of eyes ut Ger
tain pathetic junctures clearly attested. At
the conclusion of the fourth act the large
and cultured assembly insisted on show
ing its appreciation by very enthusias
tic call before the curtain, to which the
star, attended by Miss DeFOrrest and
Messrs. Evans and Maubury, who We're
fairly entitled to share in the admiration
evoked by the fine acting of the scene,
gracefully responded. Miss Gussie De-
Forrest indeed, who played the character
of Cicely Blaine, the American heiress and
heroine, came in for a goOdly portion OF
the honors which the audience were
so liberal in bestOwing. The part
is trying Onc-sclrcely less SO than that
of Francesca, as is to be inferred from the
fact that Miss Granger frequently plays it
herself, alternating it with the latter role.
Miss DeForrest proved her mettle and
gained pronounced favor by her excellent
rendition of her role. Mr.. Frank Evans
was manly lover and hero, albeit he
spoke trife too fast and with imperfect
cnunciation Mr.. Maubury was quite
satisfactory as the cold -blooded and
scheming villain. while MIR. Burns as the
merry y-hcartcd Fits furnished fun that
served to light up the edges of pathos
that imbues the piece from its beginning to
it's termination. Miss Annie Deland, Miss
Elsie Moore and MIR. Sam Hemple per-
formed the light though not inconspicuous
parts assigned to them in manner that
was entirely agreeable. and altogether the
presentation of the play Icf: little to be
desired