The Scranton tribune. [volume] (Scranton, Pa.) 1891-1910, 1895-09-05
"PUDD'NHEAD WILSON,"

The reader Of Mark Twain's recent mag
azine serial who last evening, at the
Academy Of Music, for the first time saw
1t presented upon the stage was probably
more than once impressed with the skill
and effectiveness OF Mr.. Mayo's dranat-
ization. He has taken a work Of fiction
which. In its original form, fell almost
Hat and made OF it live and artistic
drama strong In action and vivid In
characterizatiOn-a drama which, in It's
legitimate combinations Of personal
idiosyncrasy, sectional coloring and his
toric background stands out as one OF
the few thoroughly American plays to-
day before the patrons Of the American
stage. With deft hand, Mr.. Mayo dis
plays emphasis and intensity Of situations
without overtreading the dead line on the
opposite side of which lies melodramatic
ranting; and the touches Of humor with
which these crucial scenes are lightened
are true and clean, without being bump
tious or exaggerated.
-:ll:-
The story, In brief, Is that Of two Infant
boys, one white and one slightly tinged
with African blood, SO much alike that
the white is differentiated from the slave
only by a locket fastened around his neck.
The mother of the slave, partly in playful
ness, changes the locket to the neck Of
her own child, who thereupon Is chris
tened as the heir Of the plantatiOn's owner.
But David Wilson, cllentless lawyer
heart so full Of honor that men who, In
truth. love him yet deprecat!ngly call him
"Puddn'head Wilson," prior to the trans
position, secures upon glass impressions
Of the two infants thumbs. Years pass;
the infant boys become men; the real
ardly and mean, while the ostensible slave
but real heir IL chivalrOus, warm-hearted
and brave. The bogus heir CANDLES,
steals. attempts to murder his uncle
whose estate ne Is to inherit, and tries to
fasten the crime on the alleged slave;
sells his mother into slavery and degener-
ates into a terror to the community; and
It is "Pudd'nhead Wilson," with his
thumb-marks and microscope, which for
a score Of years had gained for him only
the mystery. sets the slave free and en-
ables a number of complicated love and
other side issues, which had shared in the
general tumble, to reach happy con-
clus!on.
-:I:--
The characters which sustain the brunt
Of the drama are "Pudd'nhead," Roxy, the
slave mother, and Tom Driscoll, the bogus
heir. These parts are capitally taken by
Mr.. Mayo, Miss Eleanor Moretti, and
and finish to Mr.. Mayos acting as the
eccentric Missouri lawyer that stamp 1t
as one Of the few original stage creations
of iour day. The kindly pungency OF
"Puddnheads" philosophy. his patience
and cheerfuness under derision and the
rock-rlbbed steadfastness with which he
sustains his deductions, his likes and his
aversions, were delineated In a fashion
indicative of real inspiration. Nor was
Mss Morettis !mpersonation of the pass
ionate. superstitious. and sensitive slave
far behind In point Of artistic merit. As
foils to the intensity that characterizes
much Of their work, Miss Qraham's In
genue role Of Rowy, Mr.. Days manly
presentment Of Chambers, the white
'sinve," Mr.. Aikon's impersonation of the
aristocratic but warm-hearted county
Judge, Mr. .Chisnell's conception Of the
rural sheriff, and the bucolic Jurors enact:
ed by Messrs. GIL and Tucker performed
with discretion their parts and helped to
complement q production OF uncommon
attractiveness. Repeated outbursts OF ap-
plause, and that finer tribute Of rapt at
tention during significant scenes attested
the thorough appreciation Of dlstn-
gu!shed and goOdly audience.