Evening star. [volume] (Washington, D.C.) 1854-1972, 1899-01-24
ADJUSTMENTS.

LAFAYETTE SQUARE OPERA HOUSE.
The audience at the Lafayette Square
Opera House last night was a great and
| merited compliment to Julia Marlowe. This
lady's career has been observed with uni
versal interest, and to say that an artist as
strongly admired she has been retains
her footing in popular affection is saying
| much. The public does not ask Miss Mar
lowe to rest her laurels upon what she may
contribute to the stage in the way of crea-
tons. 1t is quite content with her as an in
terpreter of the familiar characters whose
interest never fails. Julia Marlowe, how
ever, has, with the discomfort of the true
artist, undertaken to make some contribll-
tons to the drama on her own account in
addition to the classic portrayals of gentle
women for which the public has learned to
regard her with so much loyal esteem. THE
Countess Valeska," her latest play, is a
translation from the German; war melo-
drama of strong qualities, but distinctly in
ferior to the best American products in the
same field. 1t holds stirring opportunities
for the display of emotional powers, such
as the star is evidently ambitious to cuiu-
vate and display. The character which she
plays does not at all times dominate the in
terest of the piece naturally. The person
atty and power of the actress cause 1t to
do so. There are number of parts which
might be made strong in a cast organized
exclusively for the production of this one
play. AS it was, the company displayed
high average of efficiency as an ali-round
repertory organization.
The interest is strong throughout the
story, complications being numerous. and
the interest sufficiently intense to prevent
the audience from mistaking the boom or
cannon for the belated bass drum of some
wandering minstrel and the rattle of mus
kerry for the thudding of an enthusiastic
gang of carpet heaters. In the last act a
splendid climax is introduced. The nero Is
eXtricated from a seemingly hopeless posi-
a
turesque and plausible. He escapes to join
his regiment and continue lighting, and then
the curtain descends in the last act. Pos
sibly he survives to come back and claim
the lady who willing TO sacrifice even
her reputation for his sake But it is left
in doubt. No doubt the playwright felt
that, having gotten his hero out of so seri-
Gus difficulty, he had discharged all rea-
sonable obligation and was justified in
leaving him to shift for himself in the
future. And 1t would be a gloomy person
indeed who would not trust this stalWart
and self-reliant young man to survive any
number of battles in order to win so fair
lady love. Some of the speeches suggest
probabilities OF polished diction in the origi-
nal but 1t is to the efforts of Julia Marlowe
that the play owes the impression of dig
nified sentiment which it leaves behind.
Mr.. William Harcourt, the leading man,
played consCientiously, but without note
worthy ferVor, ard Mrs. Sol Smith is to be
commended for the bestoWal of some forci-
full yet discreet comedy touches. The per
Torrance leaves nothing to be desired in the
matter of scenery and costumes.
COLUMBIA THEATER-"The Dawn of
Freedom is another of the war dramas
growing out of the late engagement with
Spain in the West Indies. 1t deals. of
course. with the fight for freedom made by
the insurgents, and during the action of
the play one is kept in close touch with the
plans of the islanders by occasional trips
from the interior made by the hero, a Gu
ban boy. in the person of the star of the
company, Mr.. Paul Gilmore a romantic
young man with good stage appearance
for the roles he essays. a good voice and a
good knowledge of his lines. The Dawn
of Freedom is full of excitement and eli
makes, Astounding in thrilling escapes set in
scenes that are by far the best and most
realistic of the kind ever seen in Washing
ton The play covers period from 1895
up to July 3. 1898, when Admiral SIMPSONS
squadron put the Spanish ships out of bust
ness and the Cubans in the block house
were rescued by the American bluejacke.s
just as starvation was about to Overtake
the little band of faithfuls. The scenes Of
the various acts are exceptionally well set.
| There are five acts and the vicinity of San
tago is in each. The acts are also full of
brave Cubans led by native-born and nat
uraliZed Americans three or four villain
Gus Spaniards in uniforms as scarlet as
their deeds are bad. some girls who forsake
everything to follow their sweethearts and
husbands TO the scenes Of hOstilities a lot
of well-trained supernurneraries and no end
OF pistols and gunpOwder Each succeeding
act brought out the greatest enthusiasm
| from the audience, which did not confine
Itself TO expressions of approval by means
of the hands, but resorted to lung power
and cheered wildly on many occasions. The
enthusiasm producing incidents We're not
a few. The Dawn of Freedom is popular
| in every sense and is historically correct in
that 1t terminates with the victory OF
American arms. Mr.. Gilmore has the heroic
| part of a Cuban who fights and fights and
| then fights some more and continually bests
| the Spanish enemies that beset his walk in
| life: The supporting company is very good
| and many of the scenes are carried by
strong lines rather than by the gunpoWder
so plentiful in plays OF war periods Ed
| win Walter Is a Cuban-American who does
| lots of heroic and patriotic things, and II
| Recs Davies is the United States consul at
| Santiago. He makes up like Fitzhugh Lee
| ana readily became a great favOrite by his
| jolly work. The Spaniards fare very badly
| at the hands of the audience and the other
! actors. Carroll Daily did the arch -high-vil-
/ lain role of Spanish colonel. Helen Nc
| Gregor Ethel harrington and Ida Glenn
! have the leading feminine parts. and their
| work was varied and at times excellent
The Dawn of Freedom will be repeated
| tonight and tomorrow night and Thursday
matinee. Thursday. Friday and Saturday
evenings and Saturday matinee Mr.. Gill
I more, assisted by Mrs. Alexander Salvini
| will present Dumas THE Three Musket-
| GERS"
NEW NATIONAL THEATER.-The
| grand spectacular revival of Bronson
Howards great war play, Shenandoah il"
| promised by managers and press agent, is
| a reality at the New National Theater this
| week The spectacular features occur
| principally in the third act and in point
| of realism they surpass the widest ex-
| pectation. The battle scene is a wonderful
! stage effort and the horrors of war; are
| brought home to every auditor The re-
| treat of the Union soldiers. firing as they
| go; the convulsive death struggles of men
| shot by the pursuing enemy; the painful
| marching of the wounded; the desperate
| work of half-clad men with cannon; the
| frantic urging forward of frightened artil-
| lery horses; the terror of the tumult-all
| are as real as they can be made within the
| narrow confines of a theater. 1t is an Ell
| feet that all but brings an audience to the
| rescue and it is capped in a thrilling way
| by the gallant ride of Sheridan and his
| staff upon the scene AS the curtain fell
| upon this spectacle last night the enthu-
| siasm of the crowded house burst all
| bounds, and again and again the tableau
| was exhibited Never before has the Ma
| uonal contained audience so wrought
| up. 1t is a pity, however that smokeless
| powder is not used.
| Despite the presence of Mary Hampton
| and Maurice Barrymore the cast is far
| from being claimed an a. 10