The Roanoke times. [volume] (Roanoke, Va.) 1890-1895, 1892-12-04

TlllS JHc one tHtllt
of delivering every speech. serious or other
wise, in sort of strained monotone, Mr..
Wizards work in the trying role of Cyrus
Blonkard was perfect.
MIR. Wizards strongest point Is his
naturaness. He never rants, and he never
whines; neither does he care Il continental
who has the middle of the stage He is
able to keep his end up on any part of it.
1.-The Middleman" is an excellent vehi-
Gle for the exhibition of Mr.. Wizards per-
feet powers, for while it is technically
rather poor sort of play it abounds in
strong lights and shadows, which are fiat"
to I'm intelligent actor. 1t seems to be the
general opinion of the critics that Mr. Will
lard's methods have mcllowed somewhat
since hc was last seen in New York
and that while not so asscrtivc now ns
then he has improved perceptibly. This
is gratifying, for Willard does not appeal
to the critics in advance of his coming
with lurld souvenirs and booklets contain
ing notices of the numerous occasions on
which the crowned heads of Europe were,
moved to tears by his acting. He prefers
to let his work speak for itself, and even
his wall paper is simple in the extreme,
containing only his name and q very small
portrait Of himself
TO me Henry Arthur Jones is the most
the world. He possesses n strong dramatic
instinct he writes excellent dialogue; his
comedyis naturally evolved; he knows how
to work up to n strong, intense climax, and
yet do not know of any really good play
written by him. He has just escapcd
greatness us q dramatic author All of
his works contain the material for power,
but he almost always goes to pieces in
spots.
Another drawback to Mr.. Jones' work is
that he doesn't seem to be able to write n
good fourth act. THE Dancing Girl" is a
very good play for three acts but the
fourth act serves to destroy the excellent
impression left by the others. 1t is in the
nature of an anticlimaX, and just escapes
the designation ridiculous. The same
criticism, in II milder form perhaps, ap-
plies to 1.-THE Middleman."
When Mr.. Jones sticks to straight melo-
drama he gets along well enough, but
when he attempts to be didactic he be
comes amusing This is the case in "The
Middleman." He seeks to make q villain
OF II man who has for twenty years sup
ported visionary old potter, who once in
vented the process which made the manu-
facturer wealthy. During all these wears
the old man has been provided with meYus
to carry OH his experiments. This is Ger
tainly not particularly rough or ungrnteful
treatment, and Mr.. Jones therefore falls
wide of the mark when he attempts to use
these characters rs an argument against
the middleman, who is, in real life, IN in
dispensable in modern business methods.
Mr.. Jones' work gives the impression of
"slipshodness," rs in THE Middleman."
after tangling things up frightfully, he ap-
pears to have suddenly remembered that
it was about time for the final curtnin and
thereupon proceeded to march the absent
couple back upon the stage with scarcely "A
word of explanation, and in face of the
fact that the plot to keep the people apart
was successfully executed and has never
been undone. The whole thing is so bare
faced as almost to mar the effect of the
excellent acting of the very good company
which supports Mr.. Willard at the Star.
Conservative theatrical managers are
beginning to view with alarm the tendency
to overcrowd in She matter of places of
amusement. Every building devoted to- the
entertainment of the public must draw
somethng-no matter how little-from the
Old houses. which are now doing none too
we'll In fact it is no secret that the lease
OF New York theater is no longer the sure
road to wealth. In many cases it is Just
the reverse
1t is generally admitted that this city
already has too many theaters and music
halls, and still Charles Frohman is to have
the Empire, II. Henry French is putting ND
rival to Jay Gould's Grand opera house.
Henry K. Abbey is said to be contemulat.