The Saint Paul globe. (St. Paul, Minn.) 1896-1905, 1898-01-07
AT THE THEATERS.

Wilton Lackaye. a meritorious actor in high
metropolitan favor, appeared at the Metro
poltan opera house last evening in the lead
ing role of a play entitled THE Royal Sc
cret." The player is an artist. The play
is not artistic. Mr.. Lackaye may congratu-
late himself that he didn't write it. The pro-
granme puts this responsibility upon the
shoulders of f. D. Reinau and w. T. Price.
These gentlemen, it is to be hoped. have
broad shoulders.
1t would be unfair though to leave them
after saying this, for there are some redeem
ing scenes and situations in their drama. 'Ro-
mantle comedy drama" it is styled, but the
romance does not entrance and the comedy
is noisy. One of the choice bits Of this drama
occurs at the close of the second act of the
play prcper-there is a prologue-where the
scene between Hamlet and Opheia is en-
acted before King Louis XIV. Hamlet (Mr.
Lackaye) loses his lines in the jealous frenzy
aroused by the sight of King Louis bending
with a covetous eye over the actress whom
he has invited to sit beside him. But IL he
forgets Shakespeare, he has words of his
own, and he uses them. The monarch who
observed upon one historical occasion, 81 etat.
c'est moi which translated means 81 am
the whole thing" waxed most wrathy at the
poor actor. but having just ordered masses
sung for the soul Of the brother he had con-
signed to a living death, he relented and
freed the actor
This scene was effectively played by Mr..
Lackaye. Net that his Hamlet was an
artistic bit. for Mr.. Lackaye recognized with
commemorate discernment that no actor could
pretend to be the melancholy Dane under
such trying and exciting conditions So he
read the so.iloQuy as if he was in hurry
tn fms md in thn Ctthc
with Ophelia he cut her cues off short This
stroke must have stamped Mr.. Lackaye as a
keen and thoughtful player, who observes
human nature and profits by It's study
But the entire Hamlet diversion and eli
max do not possess the merit of originality.
There is play called "Kean," Of most re-
spectacle age, and then there is Charles
Coghlan's Royal Box" though in this case
Romeo and Juliet" cause the momentary
diversion.
The third act is undoubtedly the most alb
sorbiDg. The others all drag more or less
This &c. takes place in a dressing room OF
tie court theater of the Royal palace, in
P2r-s. 1t is true that much of the interest
is due to the timeworn expedent that the
theatrical villain-and sometimes the he
roine-resorts to that of eavesdropping This
individual hides behind screen and hears
well. no good of himself. But the dialogue
is of superior character here. That be-
tween the king and the acress is quite nat
ural, and the love scene between the actor,
MandOry, and Armande is tender.
The comedy is devoid CT wit and the whole
drama lacks sequential and substantial con-
struction.
Mr.. Lackaye's company Is uneven. He has
able support in Emmett Corrigan, who played
the arch conspirator. stronger role like
that Of Baradas, in "Richelieu' Mr.. Corri-
gan would doubtless play more effectively.
His enunciation is distinct, and his emphasis
irreprCachaible. Miss Britta Griffin pretty
Armande. but wthal lacking in posttives ess,
and falling to endow the character with its
proper individuality. Nor did Miss Griffin
speak as distinctly as could be wished. Alice
Evans was cast for the role of an exuberant
lass, who in NO possible way belonged to the
story. Her lines were necessarily "incompe-
tent, irrelevant and immaterial, and no
foundation laid as the lawyers say
In the dual role of Louis XIV. and CASTOR.
the unfortunate young gentleman who lost
his identity in 'The Iron Mask" Alex Kear-
ney mad considerable of a task on his hands
His Castor the better impersonation.
depicting, as it did, the utter wretchedness
ard despair CT the weak twin. His king was
lacking in the force and distinction that are
necessarily suggested by the mere mention
of Louis XIV.