Pittsburg dispatch. [volume] (Pittsburg [Pa.]) 1880-1923, 1891-09-08
PLAYS WORTH SEEING.
Joseph Haworth as st. Marc-An Artistic
and Popular Success-Iater On in New
Clothes-Fantasma's Tricks and Drollery
Variety and Curfosities.


Duquesne Theater last night, was remark
able success, thanks to good acting more
than anything else. The occasion wa:
notable in the first place because Mr.
Joseph Haworth made his first appearance
in Pittsburg star of more than ordinary
magnitude; and in the second place because
Play snoe il in ansss
1t is also worth noting that ''St. Marc is O
romantic drama of the kind for which popu.
lar taste is reyiying. after long plague Of
the actors received last night shows
that there are plenty Of people
left who like real acting and drama that
does not depend upon incidental tanks,
realistic rainstorms or even skirt dances.
for its potency and charm. The verdict OF
the audience delivered early in the evening
every time the curtain fell was clearly
favorable to Mr.. Haworth, his admirable
company and even the play.
Iaklng the play first, il may not be amiss
| to sketch the plot lightly. 50. Marc is a
blunt soldier, blessed, if you SO consider it,
with beautiful wife. The refgning Prince
OF Modena, with Characteristic Italian NOR
al1ty, covets the lovely Dianora; and with
unusual mildness for an Italian Prince in
the middle ages, seeks to persuade her to
Tree herself from her soldier-husband by di-
Vorce. She declines to fall in with this con-
yenlent plan, and the Prince tries force;
but his attempt to carry her off is
foiled by 81. Mirc, who is warned in time.
Then the prince tries craft again, and with
his wife is false to him. The only person
who suffers directly from this plot is the
courtier who at the princes suggestion
secretes himself in Didnord's chamber. ~.
Marc kills him; and then ut the point of the
sword extorts from the prince confession
of his dastardly plot. 81. Marc after strik-
ing the prince insultingly with the flat of
his sword. fees for his life. Six years or
al nd 81
the ruins of home, in moonlie melancholy.
he finds that DidnoTd believing that her hus-
band is dead, has listened to the renewed
suit of the prince and the next day viii wed
him. A timely accident to Diqnord' car
riage brings that woful lady upon the scene
at this moment, and 81. Mare, secure in his
disguise of a shaven face and grizzed
hair, tells his wife that 81. Marc still
lives, but ere she recognizes him
the prince enters. In the interview which
succeeds the princes eyes prove sharper
than Dtanord's and the act closes with Sc
Marc recognized and in custody: He is
borne of to prison and the wedding OF
Prince Lorenzo and Didn0rd takes place. The
prince, as men too often do, reveals his
innate Daseness after the nuptlal Knot IS
tied, and is. actually bullyragging DioaorG
when 81. Marc comes to the rescue, and
without more explanation or apology than
is necessary and to the great relief of the
audience kills Prince Lore1za and takes
DidnOrG to his bosom once more.
This is merely q skeleton of the story, of
course, but, although there is much else in
the way of side issues, we may be pardoned
nence of nine-tenths of it, The play has
sufficient directness, however, to keep the
interest alive; and if the insane man GiS-
naor.do's relation to the plot is somewhat
character is strongly drawn and acted
by such master as Atkins
Lawrence becomes one of the most promi-
nent figures in the play. The dialogue is
rf nf hn TaQtt w n
romantic plays of this school boast. The
language is often stilted, the rhetoric mere
tricious, and too-obvious1y built toward a
climax. There is not much humor, of course;
everlastingly leaping from their sheaths: |
but there are several bits of rare wit |
and apt illustration. The sentiments |
that fall from the hero's and heroine's |
lips are invariably of the most correct kind, |
and generally fetch a round of applause, |
but they are often in defiance of nature. |
There's the chief fault of the play, the un-
true picture of human nature it often paints.
For instance, imagine a wife consoling
doubling, but dearly-beloved and loving,
husband with minute and passionate re-
cital of her early love for another
man, and that man her pursuer at
that moment! Why does ST. Marc allow
Theresa and Rosario to approach his wife,
without so much as a protest, after he has
discovered their treachery? But what is the
use of asking the romantic draInatist ques-
lions like these? Mr.. Davenport Duilt "St. |
Marc" to tickle the public ear and eye, and
how deftly he laid the mortar of sentiment
the bricks of heroism the raptur-
BUS applause last night testified.
One may grumble at the play little, for
here is not much chance when
t comes to the players Mr.. Haworth lent
lerfully magnetic personality, the brillancy
If his real and diverse genius, and all the
physical attributes soldier of fortune could
lesire, an erect, manly figure nervous and
i'm 40 nI-po ND rtr
yoice such as no other actor on the stage to-
lay possesses. In searching for points for
Mr.. Haworth's voice is the
irst thing that reminds one of Edwin |
3ooth: this resemblance other things come
o confirm, notably the easy transition from
he heroic heights to valley of commonplace
nd easy badinage-as in the conversation
u Marc has with Theresa in Act II1-and that
exaltation which seems to add a |
DOT or two to q mans stature, and brings
Iown the gods with n storm of applause.
1 and III brought out this remark
BILE faculty in Mr. Haworth to
he full, and again comparing him
With the highest modern exemplar
'erformance all through, Mr. Haworth's, not !
aultless, not what Mr. Haworth can and will
10 if he lives. He has a bad habit of talking
great deal too fast, so that words run into
ach other, and sense is lost as well as mere
fleet. The nervousness natural to a first
light doubtless increased this tendency. His {
oice was pitched too high on several occa-
ions in the approach to climax, so
hat when the supreme effort came
here was no higher note to be i
cached. Other small imperfections might !
urb the fact that Mr.. Haworth is an actor
high ability, an actor who will rank with
he greatest if all goes well.
Mr.. Haworth's companyis is unusually good. !
Ir. Atkins Lawrence as Gismondo, man
razed by injustice, was simply superb. The
ltensity of this portrayal of a noble mind
nhinged has not been equaled often. The {
athos and grotesque humor of the maniac's ,
lvings after he is cast into prison are !
eally the best things in the play from O
terary as well as a dramatic standpoint ]
ut he should not have spoiled the illusion ,
great scene by returning to bow his
banks.
Miss kathryn Kidder, although an actress i
omer here, but she stepped into q high {
lace in the public's esteem last night, with d,
OF much help either from an illogical and
ften unnatural part. Added to personal 8
er possesses great histrionic talents, and
notional power. The limitations of the
of Didnord prevented a full dis
ay of Miss Kidders abilities, we can well
slieve, but her embodiment of that pecul-
+ woman had great charm, and at times
,thetic power. Miss Louise, Riais Theresa c
onicai vein running through it. Mr.. s
rouet's Prince Lorensa lacked positive q
,lor, and Mr. Daly's delivery was o
evenly and awkward, although his A
,medy lines mostly caught the audience. o
he smaller parts were all in good e
.nds, among them Miss Keith as q page y
vealed an interesting personality The
stumes were very handsome; the special =
emery adequate, and the whole production Il
tistic. The audience called Mr. Haworth Il
ID his principal assistants before the o
rtain after every act, and finally at the end ii
the play.
Bijou Theater.
Great is fun, and Hallen and Hart are r
prophets. So, at least, thought the i'm
L., ,.-l,i iLaI, lsx.A