Fort Worth gazette. [volume] (Fort Worth, Tex.) 1891-1898, 1891-10-18

fire, will be given with wonderful effect,
Mr.. Morrison having made arrangements ia
make the scene more elaborate IN its terri
flying details than has ever been sho wn be-
fore. There is almost a running accompa-
niment or subdued orchestral mu-ic which
includes much of Gounod's Faust" and
other selections from works of Rossini,
Meyerbeer, and others.
The version or adoption closely follows
the immortal story of Goethe and the opera
founded upon it, the only striking differ
ence being the intersection Of the Broken
scene or incident in the fourth act, which
must be regarded as very striking ad-
dition. As in the opera, the play opens in
the laboratory, and Mephisto comes in
answer to Faust's invocation; the latter is
made young again, and the vision OF
Marguerite follows. There is the present
of the jewels and the usual incidents, such
as the love making of Mephisto and
Martha After the duel with Valentine,
Faust goes with Mephlsto to the summit of
the Broken, where supernatural effects
are shown. The play ends with the death
of Marguerite in prison.
The scenic effects of the presentation are
elaborate. The study scene with which the
play opens is a notable one, with its proper
gloom, and the change to the Nuremberg
square is cleverly done. The garden scene
is also very prettily set. In the fourth act
is the Broken scene, which shows the sum
NIT of the mountain and is a remarkably
picturesque setting, with brilliant electro
cal arrangements and its vast army of de-
mons, sprites and gnomes. This is realistic
and free from the absurdities usually intro
duced into such settings. The closing scene
is another artistic effect of different nat
ure. In word. the scenic arrangements
throughout are exceedingly brilliant and
clever, OF the dialogue, it will be generally
conceded to be spirited and interesting, and
the construction of the play leaves little to
be desired of the company.
The Globe-Democrat, in speaking of this
production, says:
Lewis Morrison. as the deep-dyed satanic
perso age of Goethe's Faust" has held
sublime control over the emotions of large
audiences at Pope's this week. Truly enough
IL would seem the devil is ., q u. . u,
he has been painted. His followers have
been many and from all ranks and condi-
lions of life.
Mr.. Morrison's personifcation of
Mephistopheles is perhaps the correct one.
The evil one is only evil in disguise; he is
the embodiment of mirthfulness and hilar-
ity, suiting himself TO the disposition of
each and all. He is, in his own diplomatic
way, all things to all men, so that by any
means he may gain some Who would be
led away from the path of righteousness by
a morose, ungainly, disagreeable person
agel From such the first instinct of all
would be to turn away, but such charac-
ter as that presented by Mr.. Lewis Morri-
is indeed sweet temper.
To those dissatisfied with the livery of
Mephisto is there not full compensation in
the moral developed in every instance of
temptation? Does the tempter permit
Faust to enjoy long the pleasures of sin?
Does he not always ordain that they shall
be bitter sweets in the end'
The scenic effects where church and sa-
loon exists in such close proximity are adj
mirably suggestive of the truth that
''Wherever God erects house of prayer
The devil always builds a chapel there"