The Saint Paul globe. (St. Paul, Minn.) 1896-1905, 1896-09-22
AT THE THEATERs.

Those who, We're so fortunate as to attend
the Metropolitan opera house last night saw
George Eliot's Romola. They. beheld her
through the medium Of Julia Marlowe-Taber.
This is the highest praise that pen or tongue
can bestow upon the actress A more ex-
alted type of womanhood the Imagination
OF the poet or novelist never conceived. A
more sympathetic embodiment of that type
no one could ask for. 1t is, indeed, a most
exacting task tet portray role made famous
by the pen of aegenius such as Eliots. Those
who have studied the authors great work
and become irtbued with It's spirit. for
lofty conception OF LIS noble heroine. which
no artist. however ilinstrious, could succeed
in completely realizing, while, on the other
hand. those entirely unacquainted with the
novel. will fall short of a full appreciation OF
the rare beauty of Romola's character as
revealed in q stage presentation of the
story.
lt Is therefore convincing tribute to the
genius of Mrs Taber, that in Romolas SUI
preme moments she impaired to the char
acter that ail-sacrifcing spirit, that nobil-
ity of soul, that commands the highest admir-
ation That she succeeded in achieving this,
was Enthusiastically demonstrated by the wrapt
attention OF the audience in the final scene
between Romola and her false husband and
by the spontaneous burst of applause that fol-
lowed the fall of the curtain. Inasmuch as
no theatric artifice however skillful 1t be,
can supply the atmosphere that surrounds
nature such as Romola possessed the in
evltaole conclusion is that the artists tenn
permanent has all to do with it.
The earlier scenes of the dramatization do
not reveal, and scarcely suggest, the depth
OF Romola's nature. They simply exhibit
her in her lighter moods but exhibit her in
the most charming manner. as in the col
loquy with her father, Bardo Bardi. Nothing
TO excel the tender and girlish manner with
wftn which Romola displays her affection for
her father can be imagined. So too in the
succeeding scene when Tito declares his love,
how admirably and de1icately did Mrs. Taber
reveal Romola's deep and reverent love for
the man whom she believed to be the en-
bodiment of all that is good and great in
mankind
But the climax Is reached in the final
scene between husband and wife, when Ro-
moia discovers the base treachery of Tito.
When the fearful truth dawns upon her, and
her ideal is cruelty shattered, when she real
ICES that her god Is demon, it is then that
her great nature is unfolded; it is then that
her great heart breaks. There Is no stormy
scene-only few words of passionate re-
preach. Tito sinks away and as he stands
watching her with half averted face, Romola
mutely draws her wedding ring from her
hnger and lets 1t fall. The hopeless express
sion that settles upon her features tells the
rest. 1t was here that Mrs. Taber achieved
her triumph.
Robert Taber never essayed a role with
greater. or perhaps as great, success as he
won In that Of Tito Melema. most re-
markable creation this character. in Tito
we behold the Incarnation of selfshness-a
man not a villain, at heart, but one beset
with fo&o
avoid all the annoyances, trials and tribula-
lions that flesh is heir to. By constant cult
walton of this instinct, his natural selfshness
grows and grows upon him until at last he
| sacrifices all that should be dear to him to
attain his own ends and ambitions. Mr..
Taber never appeared to better advantage
| than in this character. His portrayal was
marked by refined taste. He was exceptionally
| vivid in the delivery Of Titos soliloauy at
| the close of the first act, In which the whole
| character OF the man is set forth.
Of Elwyn A. Barou's dramatization much
| That Is commendatory should be said. Nat
uraiiy II is inevitable that many scenes and
| episodes OF the novel must be omitted ORA
matte fitness also requires that many Incl
| dents and their accompanying dialougue
| should be transposed in order to obtain CON
tinuity of action. There are some speeches
| tnat could with advantage be omitted such
Tor instance as Romola's description in the
| epilogue of the portrait of Tito
The supporting. company is conspicuously
efficient. remarkably fine characterization
| OF Bardo Bardi, Rolnola's father, was con-
| tributed by Bassett Roe. the merit, Of whose
achievement was readily appreciated by the
audience. G. W.gAnson also gave a striking
| representation of Calvo Baldassare Tito's fos-
ter brother. Alice Parks performance Of
Tessa was in keeping with the innocent and
trusting nature of the child wife.
! The play is handsomely staged.
/ The extreme seating and standing capacity
OF the Grand opera house was again tested to
| It's utmost by highly delighted audience
last evening to witness Digby Bell and COM
pany in "A Midnight Bell" Spontaneous
curtain calls, hearty laughter and prolonged
| applause rewarded the combination, which
| has succeeded in breaking all previous rec
| ords OF the Grand opera house for mammoth
business At today's matinee number of
| fresh specialties, solos and concerted pieces
| will be introduced.