Wheeling Sunday register. [volume] (Wheeling, W. Va.) 1882-1934, 1899-01-29
A CRITICAL REVIEW
or
THE GOTHAM STAGE.

and well nigh heartbroken. She argues
speciously with herself that after all
the fact that Dufrene is married man
should not affect her happiness, and
when a telegram announcing that he
will soon be with her is received she
makes the same preparations for his
coming as have been her wont. When
he arrives, she is more than usually
affectionate, but her hysterical condl-
ton causes him to suspect that some
thing is wrong, and he presses her for
an explanation. She fails to give 1t,
but eventually does tell him that she
is aware of the condition of affairs at
Paris. Gradually and very skillfully
quarrel is begun, and Zaza, under
stress of excitement, tells him that she
has been to his house and informed
his wife that while she has imagined
that her husband was away from her
On business he has really been in her
arms and that she (ZaZa) is the only
woman whom he really loves.
Dufrene is Infatuated and applies to
her every vile epithet he can think OF.
Zaza then, laughing Historically, tells
him that she has lied to him; that she
has not told his wife anything, but that
she has simply taken this means to find
out whether or not he really cared for
her. He then attempts to approach
her, but she repelS him in what is the
most powerful speech and acting in
the whole play. At every performance
so far this scene has brought forth not
only the ordinary form of applause, but
loud and excited cheers from a large
portion of the audience. 1t is really
almost worth the price Of admission to
~ .-Hd hses4 tl4ie V4IU oIOue.
The fifth act finds Zanza famous.
The scene represents the exterior of a
music hall in the Champs Elysees,
Paris. She has now dispensed with
her singing partner, who has become
her manager, and she is the rage of
Paris. To all of the soft nothings of
the gilded youth of the gay metropo-
lis, however, she turns a deaf ear. AS
she is about to leave for home after
the performance Dufrene appears. Two
years have elapsed since the quarrel
and parting at ST. Etienne, but Du-
irene is just as ardent a lover as ever.
Zaza listens to him quietly and is
much affected by the fact that he still
thinks of her She reiterates her great
and undying love for him; says that
the embrace which he gave her at st.
Etienne is the last which she will ever
receive, and, stepping into her car
riage, asks him to kiss Toto, his little
child, for her. This ends the play.
1t would be difficult to say too much
in praise of Mrs. Carriers work. She is
not only fine actress now, but she is
really great artistic. Every here and
there there are small, unpublished spots,
but when one reflects upon the enor-
nous strides made by her in her chosen
profession within even the past year is
IS safe to predict that within a very
shirt time there will be nothing left to
criticise.
In her wild outbursts Of passion she
is magnificent. In the quiet, clinging,
though desperate, love scenes she is
admirable, and in the calmer moments
she is good.
Zaza was evidently selected by Mrs.
Leslie Carter because the possibilities
OF the part were eminently suited to
her style and method, but it is certain
that in any role running the gamut Of
the emotions, up to certain point,
Mrs. Leslie Carter would distinguish
herself.
The rest of the cast was excellent.
Charles A. Stevenson, as the despica-
Bile and vacillatlng Bernard Dufrene,
was quiet, strong and as manly as the
Possibilities if the part would permit
Marie Bates as the drunken aunt
who had reared Zaza in the most out
rageous manner gave an excellent
character bit and never seemed, excel
lent artistic that she is, to be willing
to descend to tricks for applause in
any of dozen places where she might
easily have done so.
What a change from Mrs. Leslie
Garter and "Zaza" to Olga Nethersole
and The Termagant," at Wallack's!
With the former, naturalness was the
keynote, the very cornerstone of the
entire dramatic structure both with
regard to the play and the star. With
the latter there was never a note of
sincerity struck either by the play or
the star Miss Nethersole was never
particularly convincing actress, and
she is now less so than ever. Her
mannerisms have increased and so has
the appearance of amateuriShneSS
with which she has always been al
flicted. Her gestures are almost as
sti and jerky as though made by a
wooden jointed doll, and her efforts to
be majestic and commanding are real
ly amusing. Miss Nethersole can sit
with profit at the feet of Mrs. Carter
for good many years. This, too, is
the more remarkable when it is re-
membered that upon the occasion of
Miss Nethersols last visit to this
country she would probably have rid
iculed the suggestion that Mrs. Garter
was worthy to be considered in an ar
tistic way in the same breath With
herself. Now the reverse is epractic-
ally the case.
OF 1.-THE Termagant,', Miss Neither
sole's play. little need be said. The
best thing about it. SO far as I could