St. Paul daily globe. [volume] (Saint Paul, Minn.) 1884-1896, 1894-09-20
AT THE. THEATERS.
The Love CHASE" ~ ell Performed
AT the Met.

old comedy, "rhe Love Chase.n
While the role Of Constance affords
Miss Marlowe excellent opportunities
to display her capacity Tor lily ht com edy,
and the play gives other members
OF the cast scope for clever
characterize alton, it comes near being
"caviare TO the general" in this mos.
practical and modern age. 1.-The Love
Chase" Is PROFESSIONALLY a polished
effort, containing much that is amusing
and farcical, a little that is serious, bat
absolutely nothing to occupy the mindn
or sharpen the understanding. The
dlction is smooth and graceful, as be-.
comes the old school. Wit there is
III spots, but 1t Is not ire
sistible or keen. The amusemeis
IS rather derived from the predicamelpts
In which the dranatis persona are
placed. ''The Love Chasa.' lacks one
virtue. 1t is not, as the immortal pHIt
1t. well digcsted in the scenes" Five
acts are more than the theme can sup
port, for modern theatergOers cannot
be entertained by mere grace of diction
or ingenuity of construction, without
rapidity of action. But this is not to
pronounce the play dull. for it certainly
is not.
Miss Marlowe's Constance was seen
here last winter. 1t is Il notable per-
formance in that it testifes cDnvinc-
lpgly TO her surprising skill as a come
ulenne. Miss MarlOwe is as radiant in
Comedy as she is tender in the express
sion Of sentiment. She commands our
| smiles and wit al 20
Is fountain of humor and pathOs, a union
OF qualities that mind and heart cannot
resist. This keen appreciation of
humor and sympathy with the pathetic
anu poetic are native traits, out TN q
ability 10 reveal the silent thoughts and
emotions experienced but not uttered
is not wholly gift. 1t is an eXemplitica.
ton OF histrionic art, highly developed.
Miss Marlowe is nature itself in the most
eXactlng scenes of this play. She WAS
especially effective IN the exhibition
OF the jealous rage which Constance
feels when Widrake tells her he is
ABOUT to marry some strange woman,
and invites her to be bridesmaid. In
the former scenes in which Constance
leases Wildrake and makes fun of his
attempt to initiate the manners of town.
bred young gentlemen, Miss Marlowe
was likewise happy. Her laugh is in
feclious; her facial expressions, volumes
of meaning.
Robert Taber impersOnated Wildrake,
the awkward country So uire. who at
first loves nothing but his horses and
dogs, but afterwards disowns them and
loves Neighbor Constance, the playmate
of his bOyish days. 1t was a faithful,
consistent performance that Mr.. Taber
contributed. The role Is overdrawn, of
course, and therefore must be handled
with good taste. Mr.. Taber's acting is
always distinguished by this quality, as
well as by Intelligent thought, and con-
sequently he was eminently successful
He is gifted with musical, resonant
voice, distinct enunciatiOn, and a mo-
bile, expressive cOuntenance, all of
which render his representations enjoy
able TO a degree.
The supporting company afforded the
keeuest satisfaction. Rose Eytinge de-
lighted ali with her exceedingly fine
characterization of Widow Green.
Nothing to excel ner acting in the
filtration scene with Sir William Fond
love could be imagined. 1t was super-
| latively fine. +. A. Everill'S Sir William
FOudlOve was another admirable per-
Torrance, unctuuus, natural and refined.
Miss Eugenia Woodward as Lydia res
c.ived well-merited applause after her
scene with Lydia's lover, Waller, who
proposes dishonorable alliance with
the unfortunate, unprotected maid.
William Owen made satisfactory
Waller, thomas Coleman was very good
as Trueworth, and the minor characters
were capably handled.
Tonight Miss Marlowe and Mr.. Taber
will play Beatrice and Benedick in
Shakespeare's matchless. sparkling
comedy, Much Ado About Nothing
*
In its eagerness to say something
mean about any attraction playing at
the Metropolitan opera house, an even
ing publication has printed sour
rilous, unwarranted attack upon
the veracity of Julia Mar
lowe. Miss Marlowe. however, can
derive much satisfaction in laughing
at the lamentable ignorance displayed
in the paper in question. 1t was all
about "Chatterton," the One-act play
written by Ernest Lacy. of Philadelphia,
who happens to be friend OF MIR. and
Mrs. Taber. In an interview with Mrs
Taber, recently published. the actress
said that "Chatterton' was written by
Ernest l. acy. "a good friend of ours"
that it was founded upon an actual
episode in the life of Chat
terion, and til at the play was
original. From these statements
the evening sheet concludes that Miss
Marlowe is not ingenious, and charges
her with trying Ito create the impress
sion that the play was written for her."
and ''that this is the first time it has
been given to the public" Then the
writer gravely announces that "Chat-
terton" was written several years ago.
and played III this country in 1856 by
Wilson Barrett. the English actor. The
learned writer concludes with the fol-
| lowing Slul:
Those who were fortunate enough
to see Mr.. Barrett'S beautiful perform
ance will net forget his magnificent
work in the lesser rendition by Miss
Marlowe."
Now this is good, extremely good;
hut it would be better if the evening
PAPER knew what it was talking about,
especially before attacking the veracity
of lady, or anybody, for that matter.
The simple fact is, that the "Chattecton"
presented by Wilson Barrett and the
"Chatierton" OF Miss Marlowe's roper
toire are two totally distinct one.act
dramas, written by different authors
Mr.. Lacy, the writer Of Miss Mar,
loves play, had nothing to do with
the writing of BarretPs "Chatterton,"
which antedates Mr.. Lacy's work. and
differs from il to a marked degree.
Both are founded upon the tragic epr5
sode which ends the life of the young
poet; but the language, situations and
treatment are not at all similar Miss
MariOwe spoke the truth when she said
her "Chatterton" was wholly origi-
NAL" and it is equally trne that she was