The times., 1898-04-12
AT THE TBEATERS.
Lnfayette-"The Countess yn'cska

Lnfayette-''The Countess YnicsI1a."
Despite the sorrowfuI predictions of sun
dry pessimistic wiseacres that Lent al
ways breaks the backbone Of the theatri-
cal season, there We're good audiences ev-
erywhere last night, and not the smallest
of them assembled at the Lafayette
Square Opera House, where Julia Mar
lowe presented her new emotional drama,
THE Countess Valeska.' Enthusiasm
was not lacking either, the caste of the
house Notwithstanding, and a very fash
ionable trcmor of applause that greeted
the actress increased into perceptible
hand-clapping at the close of that scene
and perfect ovation after the third
act.
"The Countess Valeska" is. in itself,
something Of a problem, if not quite
problem play. To thoroughly enjoy it
one must go as a casual observer, per-
haps as d deeply interested one, but GER
tainly not as critic. Too close inquiry
into the ways and means of the piece Is
not only fatal TO ones deep-set admira-
ton of Rudolph Stratzs art, but to the
fullest sympathy with his characters ana
the situations in which they become IN
diametricany different ideas, and II
one feels for the man in the case he must
lose his care for the woman. In PLAIN
er language the Countess, wondering
person in the depth of her love ana de-
yotion. becomes weak and almost insig-
uifcant when one thinks of the patriotism
and strength Of character she might nave
been made to possess. And wheh one
ceases to take that point of view he
ha who.
ends not more national than selfish, first
betrays the woman who has offered TO
sacrifice her honor for him and then
forces a confession by the unfair means
of irving either to win her or make that
sacrifice useless
MOI only does this division OF sentiment
enter the question but the play Is not
altogether logical in many ways. Ihen
many of the incidents appear strained
and nearly all of them are extremely
conventional the theme itself having
been used in everything, from the most
modern of society novels TO that ancient
comic song, For He Stood 'TwiXt Love
and Duty
that a play can be correctly judged ana
II one admits a few faults for The Count
ess Valeska" he most also concede
large share of virtues In the first place,
while fulI Of incident and the short,
choppy dialogue that makes the action
of a piece seem quick and easy, the play
is admirably constructed, each situation
being legitimately built upon the last and
with careful view to the efficacy OF the
next Everyone of the stronger portions
is so powerful as to defy critical analysis
and each has been given earnest and con-
scientious thought. If some Of the eff
fects are not effectual they are all
effective.
The plot is simple in the extreme and
surprisingly real for period in which we
have learned to expect only artihce and
artificiality. Valeska, strong in her love
for Poland, never, ,heless has fallen in
love also with an enemy TO her country,
Won Lohde THE Tail Prussian." During
a sHImish she saves him from great dan
ger and hiding him, introduces him as
her overseer. In this guise he plots for
the life of NAPOLEON but is suspected
and. in a strong scene in the second act,
accused by young officer who cares
great deal for the countess. His arrest
is threatened but she saves him by de-
claring that il help IS summoned, she
win proclaim that he was found in her
own room. BY this means also she is
made to declare her affection for him but
In the next ac. she discovers the con-
spiracy in which he is implicated and. in
spite Of his entreaties, is won to her duty
by the sound of her national hymn and
gives him up. In the last scene, however,
she turns again and the EmpeTor's life
secured allows him 10 escane as she
throws herself before the bayonets of his
persuers.
Rarely, If ever, has Miss Marlowe had