The times., 1898-11-22
Columbia - sThe Red. White and
Blue

One might have thought that after its
experience of last Spring the local public
would be tired of war plays. but yester-
day evenings gathering at the Columbia
proved that nothing of the sort was the
case. Every chair in the house was filled,
there We're people standing up in the deep
fringe around the rear of the orchestra
circle and there was much applause. every
bit of which was deserved. THE Red,
White and Blue is the best and brightest
drama of its sort ever seen in Washing
ton
A part of the general success of this
production is due to the vehicle. a part
to the actors and part TO the care with
which scenery and costumes have been
got up. The piece itself is almost
good enough to insure big returns with
an Indifferent company. Its situations
are novel and taking, while the lines are
unusually brilliant in wit and spirit. In
fact, there is a great deal more fun in
this effort than in most of the patriotic
plays which have so far appeared. Much
of the dialogue is unaffectedly and de-
lightfully funny, and none of the humor
Gus episodes are strained. When, in ad-
dition to a worthy effort, one has an o.
ganiZation of bright and competent peo
pie who support one another in most able
fashion, triumph is as inevitable as it is
just Certainly last nights audience was
right in feeling that it had a large duty
to perform in the way of appreciation.
Two prominent characters of this new
presentation are Phineas Weaver. a news
paper representative, and Father Savage,
fighting parson"-that is, chaplain
in the United States navy who has been
soldier and can be one again If neces-
sary. Raymond Hitchcock, in the part
of Weaver, gave almost the only portray
al of war correspondent yet seen on the
stage which is not a caricature. He put
into the role dry humor and drollery
which We're simply irresistible. He was
not at all the conventional journalist of
the theater but something much better
really natural and amusing original re-
porter-and his speeches, many of which
We're witty In themselves gained addi-
tional comicality from the manner in
which he gave them. Charles Kent, as
the chaplain, was another surprise, for
until John Storm appeared on the scene
the clerical calling has failed of any very
adequate representation behind the foot
lights. Mr.. Kent puts into this charac-
terization dignity combined with dscre-
tion and spirit, thus making the imper-
sonation one of the most delightful in The
drama
Gertrude Quinlan, as Hetty Hale, per-
haps divided the honors of the piece with
these two, although the whole troupe is
really so good that almost e.eGyone got
at least one round of applause, except the
villains, who were roundly hissed as they
probably desired to be. Miss Quinlan
plays part which represents sort of
would-be Joan of Arc. The role is a
difficult one to assume, alternating be-
tween comic and tragic elements III way
that would be trying to most women;
but Miss Quinlan is so piquant and be-
witching in her wit and so touching in her
pathos that she carried the house with
her from her first appearance to her last.
Ida McMfllen, as Blanche Wilson, Offer
ed portrayal rather more conventional,
but was fully equal to its demands, while
Lottie Alter, as Olivia, made a dainty
| and clever soubrette. In her scenes with
Mr.. Hitchcock, she was delightful.
Little Hazel Kirke Clark did a child
part gracefully. Maud Hosfurd, ;s Mer-
cedes. Cuban girl, had but one OPP
portunity for any ambitious work, and
| improved that In the most effec i've way.
Her scene with the villain in the second
act was extremely well done. David N.
Murray made the conventional hero, while