The times., 1899-01-24
Lafayette-"rhe Countess vareska.r

Lafayette-"The Countess VnIe*ka."
The Countess Naleska," in which ju ia
Marlowe appeared last night 1T the La
fayette has already had one season Of sue
cess, so that it is unnecessary to describe
at length the plot or the subject Of The
play. 1t deals with the Old theme Of the
struggle between love and ra-rioism, this
time under more comp icated CiicIm-
stances than usual The drama is rot one
of those in which one sees the end from
the beginning; there is always serious
doubt on the part Of the audience as to
the probable escape Of the hero from the
peIplexitics in which he is involved.
In the Polish Countess. struggling be-
tween love for Prussian officer and devo-
tion to her country, Miss Mar-oNe has
strong role, which she interprets sith all
her usual subtiety and grace. With some
actresses the part might merely auord Cp-
portunity to wear some very picturesque
gowns. and, indeed, this feature certainly
adds a great deal to the production from
an artistic point of view. The oostum
used by Miss Marlowc are exquisite in
themselves. and 4 constant delight tD the
bcauty-Ioying eye. But this is the small
est portion of the stars charm. 1t is lot
alone that she is artistic in every move
meut, in every infection of her voice. in
every expression; not only has she repro
duced the nature of the Pole. with its in
tense ideality. and its powerful devotion
| to principle loyalty comparable on 10
the instructive fidelity of the Highland r
| there is something more in her work tan
| this. Many players can give an interDre
! taton which is pleasing and artistic
| throughout; but the true strength OF the
| impersonator lies in an ability to s.amp
some single moment, some single scene
| on the mind of the beholder: and this Miss
| Marlowe does more than once in The
| Countess Valeska." One may not recall
the rest of the Offering, but one must re-
member the moment or two OF suspense
at the end of the third act just b fore the
| Countess filings open the window with her
! cry of treason" The chief fault OF the
part is that it is too much on one key. 1t
is all intense feeling. tragic doubt, and per
plexity; there is no chance for the light
ness which is so winsome in Rosaind and
Juliet. nor is there any OF the pathos
which characterized the part of Mary the
! beggar-girl. Only art could save sucl a
role from becoming monotonous.
The supporting company is, on the
whole very good. William Harcourt, as
Achim Won Lohde, the lover, does not
show TO advantage, although his work is
| fairly good. John Blair, as the MARQUIS
| Won Sturmell, is as nearly perfect as the
| limitations of his Characterization will
allow. while Donald Maclaren contributed
a capital bit of comedy in his portrayal
| of the frivolous Captain Muechenburg.
| Becton Radford is satisfactory as Valeska S
| brother, Il. l.. Stuart makes the most OF
! Lieutenant Larotta, Dodson Mitchell is
digniied and impressive as General La
| marrois. and James Cooper is as amusing
as the part of the steward permits him 10
be. The role of Elizabeth, the Prussian
girl, is very skillfully played by Norah
Lamison and Mrs. Sol Smith creates much
laughter with the lines of the housekeeper
The minor parts, of which there are sew
eral, all well done, and the piece is
staged with an historic accuracy which
should be a delight TO all lovers of the
drama.