The Saint Paul globe. (St. Paul, Minn.) 1896-1905, 1898-02-01
AT THE THEATERS.

In The Sign OF the Cross witnessed at
the Metropolitan opera house last night,
Wilson Barrett has given to the stage
worthy dramatic exemplifcation Of those IN
dying words, "By this sign thou conquerest-"
The drama is undeniably strong. 1t is
tribute to the religion Of the civilized world
that it's author may justly be proud Of. It is
a glorlfcation of virtue and a condemnation
Of vice that appealed with more convincing
eloQuence to the large audience within the
theater last evening than many discourse
from the pulpit has done, or will ever
do 1t portrays in vivid, stirring scenes and
actions the fortitude. courage, unselflshness
and resignation Of the true Christian in
those fearful times that tried mems bodies
as well as their souls. 1t contrasts in bod
and striking colors these supreme virtues
with their opposites. with the dishonor, the
treachery, the selfshness, the drunken. licen-
tlous revelry Of Rome under the tyrant Nero.
Martyrdom is exalted. Vico is made hideous.
And this devoutly to be wished consumma-
ton IS achieved not through the medium OF
a tedious, preachy drama in four monoto-
n uc chapters but through the luminous in
strumen taAty of a virile. vigorous drama,
vibrating with humanity and throbbing
with impulses to which the human heart re-
spends.
To speak Of dramatic work written at
nineteenth century as a classic would doubt
less be deemed an extravaganza, If not
sacrilege, with the works OF the masters in
mind. but surely no English drama now
recalled has ever magnifed the triumph Of
Christianity more eloquently. Perhaps 1t is
not the province Of the dramatist to extol
any creed precept, but rather and solely
to delineate human character and portray
the manners and customs of a people But,
Dow ~. ,J,I,, oJ,to
much.
The literary quality of 1.-THE Sign of the
Cross" possesses the highly commendable
virtue Of simplicity. The speeches are direct
uninvolved and readily comprehended when
delivered by intelligent players as they are.
There are no turgid, bombastic declarations
that so sorely tempt the actor to root him
self to the center Of the stage, and 'bellow
for revenge"
The theme too, is simple. No intricate
plot confuses its development. The hero is
Marcus Superbus, project Of Rome, who Is
commissioned by the Infamous Nero to
slaughter all Christians who are dangerous
and to preserve the women and children as
future food for the ravenous lions. The hero
Inc is Marcia, a flower OF Christian woman
hood. Marcus sees her and loves her. He
rescues her from a bowling rabble and takes
her to his own home for protection. A
drunken revel Is in progress there. Marcus
leaves his guests in disgust. He sends for
Marcia. She comes, he gazes upon her sweet
face and forgets that she has a soul. But
Marcia. with the secret of her love for
Marcus still within her bosom thinks only
of her honor. She implores Marcus to spare
her. In his frenzy of passion Marcus hears
her not There is a struggle. Marcia frees
herself and as Marcus pursues her she holds
up the cross. By that sign she conquers.
Marcus becomes a Christian at that moment
though he does not know It. Marcia is con-
demned to be given to the lions. Marcus
beseeches Nero for her pardon. Nero con-
sents upon condition that she foreswear her
faith. Marcus seeks her out in the dungeon
that opens into the amphitheater He tells
her that If she will renounce her God Nero
will spare her life. Marcia reverently lifts
her cross to her lips. Marcus implores her to
save her life for his sake. Marcia confesses
her love for Marcus then, which, she says,
is beyond all other except her love for Him.
The doors leading to the amphitheater are
thrown open. The time has come for Marcia
to go from the world and from the man
she loves. Marcus goes with her.
1t is inspiring. and in the light of authentic
history know it is true.
The performance was entirely worthy Of the
subject. The most conspicuous member Of
the company Is Charles Dalton, who plays
Marcus Superbus. Mr.. Dalton is a picture Of
a man, who easily looks 1.-The noblest Roman
of them ALL" His physique is admirable,
without that unpleasant accentuation Of alb
normal muscular development that must
have been demanded In those days of a
Chrstan-slaughtering gladiator. Mr.. Dalton
is an excellent actor. Great fexibility and
resonance of voice he has not. nor are his
features sufficiently mobile to impart those
infinite shades of expression that illuminate
the acting. but true feeling and sympathy he
possesses in an eminent degree. Sound sense
and keen appreciation Of the spirit and sig
nifcance of every line he speaks, are con-
stantly apparent. The proof Of this Is unmis
takably in evidence in the unfailing applause
that discriminating audience bestowed upon
the speeches that merited 1t. Mr.. Dalton
never failed in producing his effects" and
those effects were invariably legitimate. His
acting was entirely free from palpable theat-
ric artifce.
Next in order Of prominence is the role
of Mercia, which Is assumed by Miss Irene
Rookie. Miss Rookie is an actress Of more
than ordinary ability. Her impersonation Of
the sweet martyr was characterized by a
spirit of resignation and yet animated with
a fervor of speech and action. It is to be
regretted that her voice is not quite adequate
to the demands Of the role.
But perhaps the most striking. certainly
the most finished and sympathetic portrayal,
was that of Stephanus, the boy martyr, by
Miss Gertrude Boswell. This young actress
possesses a voice rare In its sweetness and
tender quality, face of fine expressive pow
ers. Stephanus appears in comparatively few
scenes, but in the last scene OF ALL" just
before the Christian boy goes to the arena
to be devoured by the wild beasts, Miss Bos-
we'll depicted the agonized terror Of the lad
with startling reality. This was succeeded,
as Mercia uttered words of Christian hope.
by an expression of utter resignation in ex-
preston and voice that made martyrdom
seem a glorious DEATH Miss Boswell pos
sesses distinction to a marked degree.
The remaining members of the cast were
satisfactory to an unusual degree. W. e.
Bonney's Nero was a characterization of that
tyrant that possessed the merit of uncon-
ventionality without oveTstepping the bound
aries OF probability. In the roles of Favius
and Titus, the Christian patriarchs, Basil
Gill and E. Williams were excellent. Miss !
Agnes Scott played the jealous Berenis with
good discretion; Miss Marjorie Cavania con-
ceived and embodied the role of Dacia, the
frivolous young woman, quite satisfactorily, !
and Miss Edith Paulin distinguished herself
in the reveI scene at Marcus house. Hubert |
bruce contributed q good Characterization of |
Glabro, the old patrcian, with Fastaflan /
propensities for wine and women.
The Sign of the Cross is superbly mount |
ed. The scenery is rich, and the stage is |
beautifully set. The most effective, and |
moreover, an inspiring picture, is the last
scene of the second act where the Christian !
hour