The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1896-03-15
THE DAVENPORT PLAY
GREAT PRODUCTION oF "GIsMoNDA.
AT ENGLtsHs THIS WEEK.
Frnncfs Wilson I'm Two Comic Operas
at the Grand-Irving's Engage
m~ent-Other BIlIs.

powerful Characterization OF SaFdou's hero
ines. as well as the elaborate scenic produc-
ticn OF the great French dramatist's plays,
wiz begin an engagement Of five nights and
a Saturday matinee at English's tomorrow
night, ia "Gismonda," Sardou's latest and
most pretentious play. The production is
said by the critics elsewhere to be the
most beautiful and picturesque ever given
a drama in this country. There IS no other
woman IN America who could do what Dav-
export has done with ''Gismonda." Miss
Davenport got a manuscript play from Sar-
dou. She made her own translation, decided
upon her scenery. arranged for her ward
robe. secured her own managers. rehearsed
her company and played the piece as well
or better than It has been done by Bern
hardt. IT may be that the French actress
VIII make more of the individual character.
but 1t is safe to assert that the Bernhardt
production will not approach that of the
Davenport in completeness OF surroundings
and the elegance Of wardrobes. The French
people do not bring such productions across
the Atlantic.
The first act of "Gismonda" takes place
in a setting which includes a view of the
east side of the AcropoIis, with the Parthe-
non and Propyiaea- On one side is an an
tique Dit or well. while in the foreground
appears a large Byzantine cross. Gismonda.
who is the widow Of Neric III, and the
Duchess Regent during the minority of her
SON, Francesca, appears on the stage in
company with Zaccaria and other noble
suitors- Francesca is permitted, under the
guardianship of Gregoras, Zaccaria's cham
berlain, to visit a tiger in the pit. As a
part OF their conspiracy to destroy the
youthful heir, Francesca is dropped into
the pit. Seeing the danger of her child.
Gismonda swears on the cross to marry
the man who will save her boy. Instead, of
one of the mobiles, the deliverer proves to
be Almerlo, a humble falconer.
In the second act, which represents the
Covent at Daphne, Gismonda is disclosed.
sorely troubled over the refusal of the Pope
10 release her from her VOW. His Holiness.
however, avs that he cannot grant the
dispensation- Almerio returns, covered with
new honors, from the field Of battle. He
has grown SO popular with the people that
they congregate outside the convent and
clamor for Gismonda's marriage with him.
Almerio meanwhile has gained an audience
with her, and for his insistence on the full
fillment Of her VOW she has him cast into
prison.
The third act presents the chamber of
- 0oCdA pdidte- ODe mas Al
merio brought to her. and endeavors. by
means OF brides and threats. to gain re-
lease from her vow. He insists that he
wants only her, and not her social position
or wealth, and declines to accept her of
fers. Finally, by means Of deception and
fattery, she succeeds in playing on his
generosity, and gains his promise to pub
hciy proclaim her release the next day in
church, but she is so touched by his love
that she promises to visit him that night.
The fourth act shows the ruins of the
Temple or Venus by moonlight. Cismonda
Is just leaving Almerio's hut, where she
has spent the night, when she hears the
approach of Zaccaria, who has come 70
murder Almerio- She conceals herself until
Zaccaria Is about to enter the hut. when
she springs from her place OF hiding and
fells him with an ak. The next day the
Feast OF Palms is being celebrated in the
Church of Santa Maria. Almerio has re-
leased Gismonda from her oath, and is
charged with the murder of Zaccaria. To
shield her he acknowledges the guilt, and
is about to be led to execution, when she
reveals the truth. offers her land in mar
rage to Almerio and calls the priest 10
bless their union.
Fanny Davenport will appear in the title
1870 SaPpoALCQ ny 1lelDOQrQe
and a competent company of twenty-five
anna people n a chorus of thirty Sc
lected voices, who will render the musical
numbers, which were especially composed
Tor this play.
GISMONDA'S GOWNS.
One point which the high priest of aes-
fnetics, Edmund Russell, is always making
Is that women do not know how to use
Jewels They do not subordinate them, he
says. sGismonda's gowns are a liberal edu-
cation Ia the art of wearing gems so thai
they VIII at once beautify and be an in
tegral part OF a costume, instead of an un-
necessary, giittering addition. In the first
act the Duchess wears a hunting costume
The long. trimmed underskirt is of velvet
shading from golden green to deep emerald
green 1t is heavily embroidered in gold
The long overdress Is a wonderful dress OF
only a little draping at one side. About
the neck is a run or guipure. A velvet
hunting cap. embroidered in gold and nod.
ding with feathers, a gold embroidered
green velvet corselet and slashed sleeves
and a pocket embroidered in emeralds hang.
ing from the belt complete this gorgeous
In the next act Gismonda wears a long
1ul gown OF white silk. over which a sort
and gold, hangs In soft folds. The under.
dress Is caught In at the waist by a silver
belI-
The dress in the third act is a princess
frock o. pale coral-uolored velvet enbrui-
dered in silver lilies. Sapphires and ener-
aids CLEAN from the embroidery. This
sleeves are puffs OF pale blue, similarly en-
broidered. Epaulettes Of silver netting hanp
over the shoulders. The skirt is slashed or
the left side TO admit a panel of the pals
blue velvet, which Is almost covered with
silver netting. A small, closely-fitting car
or jeweled embroidery Is worn with this
gown. and a massive jeweled belt. About
her neck Gismonda has a slender chain
from which depends a cross. brilliant with
gems
In the fourth act the Duchess, wishing
to ESCAPE observation, wraps herself in :
long,. wine-colored mantle. which conceals
her from head to foot. When in moments
OF excitement she lets II fall away. a sim.
pie, rather peasant-like frock of bale bine
and wine color Is revealed. 1t is low
necked. with pulled sleeves and a lace corse.
let
But the last act makes amends for the
simple gowning OF the fourth. Gismonda
comes to church in a gown of state. The
front Is OF ivory white satin, so CLOSELY
wrought with Jewels that the ordinary OBJ.
server wonder how she manages TO bea,
the weight OF them. The sleeves, which
fall away from the lower arm, are of fhe
same white satin. richly embroidered witt
gems. The mantle Of cloth and gold anf
ermine Is lined with pale blue velvet. and
IS embroidered with silver and Jewels in tnf
coat OF arms Of her family. The manfIs
hangs from the shoulders in a train OF mos