New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1891-12-10
THE DRAMA---MUSIC
n,rv,s 1HEAIRE-THE LAST WORD

nAIY,S IHEAIRE-THE LAST WORD.
,..ora &c here made OF vet another pleasing Incl
- =, pely's Theatre. The comedy Of "The Last
80. vas revived there last night and was admir-
W., .cted. in the presence of a numerous and rep
.ssntaslve audience. This piece. first produced on
ner %. 1890, and continually performed for sew
-, weeks at that time, has from the first been a
sros,te II is not high comedy, but comedy treated
IA some OF the freedom OF farce and therein COM
add 10 the sympathy Of these times--in which
any people are seemingly. not ashamed 10 confess
nc. they read for entertainment and seek the theatre
49, laughter. The original was written by Mr.. Franz
..o schonthan, and This has been adapted 20 the
American stage by Mr.. DAILY, who has laid The scene al
washington, and In various WAYS has altered and
.nhsllshed the German fabric. No doubt however,
,s psfiiculars Of this subject are well within the re
nembran6e Of playgoing readers, and rehearsal Of
>sn would therefore BE- superfuous. Yet Il ought TO
A. ssd that the theme OF this piece is one of grave
,rport and that young people who are lovers or
vhe think themselves to be so, would do well to con-
rsr with serious attention. The pervading tone OF
a. mar the tone of festival but beneath it's shark
Inf surface there is strong thought and serious feel
ms
A eirl has made premise Of marriage without her
ether: knowledge and consent, and she persists in
,.s fidelity to that PROMISE against his WILL She is
,hseupon expelled from his house. and both of them
are made to suffer. The Intervention of in
,s>sible Influence in the shape of a
,tTg ard fascinating woman, eventually reconciles
he father TO HIS daughters choice and reunites them
h happy home. The question implied is the question
a sis duty: and. considering the general prevalence
a the lunatical idea that love ought always to have
M own way, Il is momentous question. Our
ancestors in the theatrical audience have been re
prached for their acceptance of the enormities Of
t,sser the ewdneSs OF Etheredge and the roysterng
,eosnaRy Of FarQuhar: but the entire range Of the
on British drama shows not anything so abhorrent
n the Hcentous and monstrOUs that have been
Allowed and even admired. on the French and Ameri-
n, STAGE within the last twenty years. only because
ne motive of them this same all-sanctfying
vason Of love Any force that sets against this in
are idea ought to be welcomed. The spirit OF Tie
LAST Word cannot indeed be described as forcible.
The girl it happens is in the right, and the
hsAsr f. n the wrong. Nevertheless the piece does
suggest that parents have rights and that there
such thing in this world as duty and herein 10
suggests some relief to the too prominent contemporary
sasxtical picture Of female beauty flashing its eyes
ssd masculine folly whiting in their light.
me golden thread OF humor that runs through this
pice is the subiugaton of gravity by mischief one
q he men, Harry Rutherel, thinks that no woman
ssn ever bewitch him, and thereapon one Of the
women, the Baroness Vera Won Boursnef very charm
usiy shows him that he is mistaken. Mrs. InchbOld
treated this theme in a different manner, eighty six
years ago in To Marry or Not to Marry 1t Is
tfght theme and always The scene Of The Last
Word In which Vera begUiles the cynic by ingeniousy
ksdng him 10 suppose himself placed In precisely the
psht Of his enamOred and discarded sister, is Of
ne ingenuity and Of rarely animated humor. Ada
Eshaa and John Drew have CHARACTERS and situa-
sco in which they are completely fitted to shine, and
their acting is perfect. Vera must all the wiles OF
vomaahood and while she is an absolute siren must
seem 10 be image of absolute innocence. The
transitions Of mood many and are incessant-
ron command to entresty; from fervor to meekness;
from snchantment TO demure simplicity and vacant
vonder-and at last TO dazzling triumph. Ada
Ressn accomplished these with a buoysncy that
pewW faltered, grace that never tagged,
A defcacy that never erred, with innate
refinement and with that furtive playfulness of
hsmor which is the more winning because il is soft
ned and subdued by tender ana endearing senti-
and IN the subsequent more serious and difficult
scene in which the stern father Is sqbdued and
Sss comedy, and therein faiiy iastldcd the esteem
intesssnt pquancy OF the performance significant
d As genuine strength and cheerful ardor Of fine
vsatvith her pretty little foreign cadence of
ATTENUATION and her mOmentary hestancy and sweet
. Harry Ruthersu, opposes that ifnpert,rbable cool
rtss that sehcentfed manner OF graceful ease which
misalitT Of sapess SiV,anee: vel little by ntte
be defences thus established allowed by him 10
tid, and a passionate heart and an impetnous
,irit are disclosed within them This is the sOrt of
lrt that comedians have always delighted in, from
le days OF Robert Wilks to the DAYS of Robert
IiistOn. and from Charles Kcmble 10 Lester Wallack
does not, indeed. require the large demeanOr and
road style of high comedy; but II need, fine per
option sensihity and facle touch. and especially
needs refined and charming personality. Mr..
rev easily satisfies all Its requirements The dim-
ult part Of the unrelenting father wits filed with
lgpjtv and weight by George Clarke The eXuberant
,pv was made DELIGHTFULLY."- drOll by Mr.. James Lewis.
nd the Juvenile heroine had q pretty and pleasing
In Miss Isabel Irving. All the scenery
new.