The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1898-11-18
NENTTCT DR.. A. E. BUCHANAN
DAAt AANA 1888 When Building.
ADJUSTMENTS.
acknowledgements"

If Henry Miller had played in Indianapolis
last year according to his schedule, when
his new record as a star was fresh and the
success Of 'Heartsease' was still being dis
cussed by theater-goers, he would have
stood a better show of having an audience
that measured up to his deserts Mr.. Millers
pronounced attractive personality which
charmed the audience at English's last
night is on exhibition for the first time in
this city since he became factor in pres
ent-day theatrical history. 1t is neither his
fault nor that of indianapolis theater-goers,
but the fault of his managers, that he has
not attempted to cultivate this city, where
performances such as he is able to give are
valued at their true worth. Ambitious
thespians would do well to study his meth
DDS. He has grace and dignity without
rant or artifiee. His style is the most nat
ural permitted by the lines the author has
given him. His impersonation of Eric
Temple is as near the essence of refined
dramatic expression as any displayed by
any Leading actor who has visited this city,
and the same winning methods that char
acterize Henry Millers performance mark
the work of the people of his very excellent
Every act of "Heartsease" is a beautiful
dramatic picture, but it is in no sense
powerful play. The role of the young mu-
stefan, Eric Temple, who is driven to pow
erty and despair by reason of his opera be-
ing stolen, which fact also causes the loss
of his sweetheart, has not been drawn with
sufficient detail for a strong leading char
acter. The pathoS is suggested rather than
portrayed, and the several characters that
go to fill in are given almost as much
prominence. These are all so delicately
played as to divide honOrs in many cases
with the star.
The play is almost too light at times to
hold the attention of the audience. On the
WHOLE the company deserves more praise
than "Heartsease." After two acts of
rather trivial dramatic episodes that would
be tiresome with less gifted actors the play
introduces the foyer and greenroom scene
of Covent Garden. Before the curtain goes
up on this act an entire number of an opera
is sung and the applause of the hidden audi
ence is heard as the curtain rises. Then it
develops that Eric Temples rival is being
congratulated as the composer and that he
Is engaged to Lord Nevilles daughter, who
is breaking her heart for the real author.
1t Is Eric Temples stolen opera that is be-
ing sung, and Miller'S strongest scene is
act He comes to hear the opera and dis
covers his lost work. With the music ring
ing in his ears he brands the thief before
the entire company and is called a lunatic
for his pains. In the last act is the duel
scene, with a gallant flash of swords, the
complete exposure of the thief and the
triumph of the young composer
Margaret Dale is especially happy and
winsome in the role of Lord NeVille's daugh-
ter and Mabel Bert is almost equally as eff
fective as Lord Neville's young wife, who
was also in love with Eric at one time.
c. Leslie Allen, a fine actor of old men,
has comedy role that is most effectively
handled Other members of the company
are deserving better mention than among
the "alSO rams"