The Saint Paul globe. (St. Paul, Minn.) 1896-1905, 1897-12-10
AT THE THEATERS.

Frederick Warde, whose name always gives
assurance of a high purpose and intelligent
effort in the dramatic world, presented at the
Metropolitan opera house last night drama
tization of the brilliant career of Islander.
The work, which is adapted from Disraeii's
famous story, 1.-THE Rise of Islander" is
from the pen of w. E. Eaton. 1t is DIS
tinctly romantic melodrama.
Dealing, as it does. with the bloody wars
between the followers of the cross and the
crescent in the fifteenth century, the oppor-
tunities for exciting scenes and thrilling cli-
makes are plentiful. and of these the play
wright has availed himself freely and with
some success. So much of the melodrama
as purports to present the purely historical
incidents, the martial movements and the
like conforms closely ito history. The ro-
nance is, of course, woven in and around
the historical theme.
OF the five acts, the second easily sur
passes the others in point of construction,
action, variety and genuine dramatic flavor.
1t is frightened with touches of comedy and
dignifed with beautiful sentiment. 1t also
affords Mr.. WaFde the opportunity for his
most effective acting The brief soliloquy
which ISLANDER delivers while in the guise
of the old Armenian magician is the finest
passage in the play Mr.. Warde read it with
most expressive emphasis and moduIat:on 1t
was literary and dramatic climax in one.
Throughout Mr.. Warde's impersonation of the
impetuous and fearless warrior was marked
by virility, vigor, a strength that in
spired absolute confidence that the man was
bound to overcome any and all obstacles. 1t
was one of those convincing, consistent and
intense performances commencing itself
equally to both head and heart.
he
some of the players seeming unadapted to
heroic or dignifed roles. Carl Smith, who
impersonated Nicaeus. Prince Of Athens,
character drawn on natures lines. was more
satisfactory in the earlier scenes, but in the
situations calling for the display of the
deeper emotions Mr.. Smith forced his voice,
ceased acting and began to rant. His loud
est tones are not the best. His demeanor,
however, was generally in keeping with the
character. William Corbett, to whom was
allotted the role of Prince Mohammed, heir
to the Sultan lacked the distinction and
bearing that the character demands in order
to make him a foe worthy of Islander. Mr..
Corbett's reading is not effective, owing to
failure to properly modulate his voice.
Archibald Hotchkiss, who impersonated Hun
niades, the Hungarian commander of the
Christian army, Is an eminent actor, but he,
too, Is handicapped ia heroic roles by an
inadequate voice. E. W. Wallace supplied,
in the role of Mousa. most all of the comedy.
Mr.. Wallace portrayed the character in an
appreciatiye manner and with considerable
JUNCTION. His was very satisfactory repre-
sentation of a garrulops, chattering, selfish
old pensoner. Charles H. Clark, in the role
of Ladislaus one of the Christian warriors,
dispelled any illusion, his appearance may
have created, when once he spoke. His light
voice and short, jerk9. colloquial style of
delivery scarcely tharm9nized with the highly
dramatic situations in which he OCCASIONALLY
figured. 81 Sd
To Miss Beatrice Lieb was entrusted the
role of Princess IduHe, Miss Liebs por-
trayal was not all that could be desired of
such a character. While always marked by
intelligence and refinement, it lacked inten-
sity and spirit n Sufficient volume of voice
seems to be a requisite that Miss Lieb does
not possess. While her stage presence is
attractive, it is not adapted to represent the
ideal conception of the daughter of Gen.
Hunniades.
Mr. Warde has mounted the new play
richly. The second act, representing the
Helmet bridge. and the last act, showing
the garden and sacred fountain of Kalista,
are picturesque to q degree.