The Providence news. (Providence [R.I.]) 1891-1906, 1897-05-14
"THE PRISONER OF ZGNDA."
Manager Frehman's Comedians al the
Providence Opera House.
Rudolph tho Fifth-Rudolph Rassendyll.

- a
Michael Duke Of the strelsau.. Arthur Elliot
Colonel Sapt. .......... Robert y. McClsnnin
Marshal Strakencz ....... 80. Mervyn Dallas
Fritz Won Tarlenheim. ....... Vaughan Glaser
captain Hentzau. .......".....W Walter :; Hale
Defchard. ...,.,.......... -. John l.. Weber
Bertram Bertrand ........ Benjamin Monteith
Franz Toppitch.. John Findlay
iorehl Ieppitch ..................R. d, Dustan
lyofu IOphaln ................ Henry IalDot
ion. ;'.......'........,.,...... ...Luke Conness
Ludwig ig....................... Charles Clark
yyoseph .''''''''.'.''.''' Jonh ~, n'ut5
Antoinetto de Mauban. .......... Maudo Odell
Frau Teppitch .............. Margaret l.. Yates
Countess Won Strofzin -. Marion Langdon
Countess Won Reisberg ........... Amy Ricard
Amelia, Countess of RassendyIl. Grace Reals
"Tbe Prisoner of Zenda" was played at
the Providence Opera House last evening
by Daniel Frohman's company. It was its
first presentation in this city.
In the dramatization of Anthony Hopes
beautifui romance 1.-The Prisoner of
Fonda" Edward Rose has given us "A most
worthy addition 60 the list Of romantic
dramas which are worth presentation. lt
nelongs in the same class with Hugo's
Ruy Bias, in fact, one strongly suggests
the other by the similarity of plots and
of the love stories.
Mr.. Rose bases the action Of his play
upon this passage in the book: 1T Is per-
haps as strsnge a thing as has ever been
IN the history OF a country, that the Kings
brother and the Kings Iersonator, in "a
time OF profound outward peace, near "a
placid, undisturbed country town. under
semblance of amity, should wage des-
perato war for the person and life Of the
King.
The playwright has adhered with re-
markable fidelity TO the story as first told
in the book, usirg its best situations
and dialogue and presenting the whole
with the added vividHess given by tho
action Of the player. He has done more
than that by writing his prologue which
In ten minutes gives in separate story
the antecedents of the play itself and
this method is "A satisfactory devise for
avoiding the necessity OF long and cOnfi-
dontial explanations between some player
and the audience.
The prologue itself Is n romance, the
ore scene Of which is rich in opportunities
for the players. IL explains, along the
lines Of heredity, the combinations of
circumstances which make the plot of
the play itself plausible.
Prince Rudolph OF Ruritania is in Eng.
land and there Is love affair between
him and Amelia, Countess Rassendyll
The prince has red hair. The prologue
concludes with the understanding that the
English countess is 90 have an illegitimate
child by the prince from Ruritania.
The period Of the play is "A century and
half later and the scene Is in Rutanla.
The heir TO the throne has rod hair so~
has "A young Englishman travelling in the
country and the physical similarity is so
remarkable thar the traveller readily per-
sOnatcs the prince ON the day that the
latter is To- be crowned. That is the situ-
alton out or which the pathetic love story
Is developed and also tho story of Black
Michaels plotting against the kingdom.
The key TO the various situations is by
no means new one, nor is il treated
..f. EI.s.
tarest of the plot and nobility of the pur-
pose are the greater for their familiar set
ting
n weak prince, a plotting cousin. a
noble princess and n young man capable
of being a hero, II only the chance is
giyen-the opportunity seized and n king
dom saved at the cost of self sacrifice and
love denied-these are but limits of the
characters and incidents that make up
the play and prove that patriotism and
honor.are more than even the best of
human love itself.
There is an abundance of first class
comedy To relieve the pathos ana the pos
sibilities for humor in the impersonation
of king at his coronation by fun
loving young Englishman are made
much of.
The setting Of the piece is without
flaw.
Miss kimball's Interpretation OF the
character Of Princess Flavia was all that
could be desired To keep her audience
constantly alive 20 the heroine's strength
OF character, which in the parting gives
her the courage to say Co the man she
loves, Il do not know why God lots me
love you, but do know what He bids me
do, and to send him away that she may
marry the king for the sake of her people
and her country.
AS Rudolph RnsSendyll, the imperson-
ator of the king, Howard Gould makes
al ideal hero-loyor, fully equal TO the two
extremes which his part calls for-the
passionate declaration of the man sub
jected TO the severest OF tests and the easy
good nature of a man wearing "A crown TO
accommodate his friends in AN emergency.
Maude Odell is dramatic without over
doing the part of a French woman, whose
natural intensity is strengthened by
series Of situations i'm which she is always
the one to suffer the injustice and tho
insults of the villain, Black Michael, and
his rotainers.
Robert I. McClannin is the comedian
of the company and rs Colonel Sapt has
ample opportunity TO demonstrate bis
ability ana establish his claim TO good
share Of the credit Of making "The
Prisoner of Zanda, "a most enjoyable
performance, and so far as the lighter
portions OF the play are concerned he
divides the honors with Mr.. John Find
lay and Mr.. Vaughan Chaser.
Mr.. Arthur Elliot has the satisfaction
of playing villains part which is
unique in so far as no assembling and
hypocrisy is called for. lie is also the
villain and the eEemy of the court, re-
licvcd by the playwright OF doing tho
double duty OF pretending loyalty and
friendship and Mr.. Elliots performance
is consistent with the high standard of
his company,
"1he Prisoner of Zenda' will be re-
pea, ed this evening and tomorrow after
loon ana eyor<ng.