The Saint Paul globe. (St. Paul, Minn.) 1896-1905, 1896-12-29
AT THE THEATERS.

Romance and action, fervent romance and
virile action are the magnetic qualities of
THE Prisoner Of Zenda." The dramatization
OF Anthony Hopes fascinating story pro-
duced last night at the Metropolitan opera
house before large audience. It is super
fuous to add that it was an appreciative audi
ence, for this drama appeals to the heart
with Overwhelming eloquence. The audience
beheld in The Prisoner of Zenda" a brilliant
ly colored drama of romance and chivalry,
pulsating with human emotions, alive with
human beings, acting indeed under intense
and exciting pressure most of the time, but
nevertheless quite human.
1t was noticeable last night that a large
number Of local patrons Of the drama have
been spending their evenings elsewhere than
at the theater. The vacant chairs that have
extended a most uninsiiring greeting to
nearly every attraction, meritorious or other
wise, that has visited the Metropolitan this
season, were filed Their occupants are not
sorry that they risked THE Prisoner of Zen
da-'
Those who have read Mr.. Hopes novel may
have come with their critical lances sharp
ened, ready to hurl them at the first vulner-
able gap that they could detect between the
joints of the dramatic armor. Doubtless
they recalled incidents Of the story that the
limitations of time and the stage prevented
the dramatist from introducing. But those
who have not read the novel suspected no
omissions. The continuity of action is close
ly preserved. Nothing vital to the story is
left to the imagination. Every incident nee
essary to the sustaining of a vigorous, ex-
citing and complete drama is pictured There
is no hiatus to cause misunderstanding or
regret between acts. For all this, Edward
Rose, who dramatized the story, is entitled
to unqualified praise. He merits equal, if
not higher he or
his original work in the creation of the pro-
logue, the foundation of which is scarcely
more than an allusion in the novel. As a
piece OF dramatic writing it is perhaps su-
perior to all the rest. It's action taking place
in the early half OF the eighteenth century.
affords opportunity for grace and elegance of
diction that the close of the nineteenth CEN
fury has neither time nor inclination for
This opportunity the dramatst has fortunate
ly proved equal to- while he has also infused
dramatic fire into this one act and brought
1t to close with fine tragic climax. 1t is
complete drama in itself, that prologue,
and yet of incalculable value to the story
that follows century and half later 40
lasting and significant is the impression it
leaves.
IL should be scarcely necessary to outline
the story OF The Prisoner of Zendan Those
who are not familiar with 1t will compre-
bend the fertile field it offers for rare dra-
matte effects when informed that the hero
Is young Englishman who, by reason of
his perfect resemblance to the rightful heir
to the throne Of Ruritania, is crowned in his
stead in order to protect the kingdom from
falling into the hands of a dangerous en-
envy. The real kingis drugged by the con-
spirator. and is thereby unable to be pres
ent at the coronation He is afterward thrown
~ hut ie
cued by the pseudo king and restored to his
rights. The interest would be comparatively
mild if this were all. But it is not, for
Rassendyll, during his temporary occupation
OF the throne. has fallen in love with the
Princess Flavia, who returns his affection
In surrendering his throne, Rassendyll sur
renders the woman whose heart lives in his
heart. The parting of the two lovers is
deeply affecting.
The company that presented 1.-THE Pris-
oner of Zenda" is deserving of unstinted
praise. In the dual, or rather triple role of
Prince Rudolph in the prologue Rudolph
Rassendyll, the Englishman, and King Ru-
dolph ", Howard Gould must be com
mended for his excellent conception and por-
trayal of the varying characters. He is
required to run the gamut of human emo
tfons, from the heroic to the most common
place, from the lightest and most trivial of
moods to the most intense, from the maudiin
chickering's of a drunken sot to the noblest
display of exalted love and self-sacridce. Mr..
Gould acquitted himself splendidly.
William F. Owen, who is nothing If not
unctuous, was capital in the role of Col. Sapt
the bluff old soldier. Walter Hale distin-
guished himself in the portrayal of the Earl
of Rassendyll in the prologue. Maude Odell
contributed admirable and vivid portrayal
of the wronged Antoinette de Mauban.
Isabel Irving's portrayal of Princess Flavia
was marked by refinement and tenderness
thoroughly in keeping with the character.
Arthur Elliott's delineation OF Black Mich
ael' the BLACK Elphberg'' was an excellent
piece of work. Grace Reals was picturesque
and entirely adequate in the prologue.
The scenery is picturesque to degree.
Ii