Wheeling Sunday register. [volume] (Wheeling, W. Va.) 1882-1934, 1899-10-08

holds the light in Sachel's face, repeats
his cry of Ten o'clock and alls WELL
and the curtain falls
Of the players, Joseph Haworth gave
a magnificent performance of the inn
possible young artist, Rafael. Miss
Grace Filkins was good in the quiet
scenes as Rosa, but was inadequate in
the stronger episodes. Emmett Corri-
gan played Aaron with dialect as
though he were a farce comedy char
acter and Bijou Fernandez was insipid
and unconvincing as Rebecca, not i'm
parting a single touch which might
make the role appear real. Sydney
Herbert was excellent as Sachel and it
is doubtful whether this actor has ever
done anything better in his long and
worthy career. This, too, despite the
fact that at times he was given to over
elaboration of some points which, eff
fective as they were at the beginning,
became somewhat tiresome by constant
repetition. The rest of the cast was
adequate.
Of "The Only Way" it is difficult to
say anything which has not already
been said of ''The Ghetto" Mr.. Henry
Miller has in this piece unqeustionably
made the hit of his career, as the devil
may-care but brilliant young lawyer,
Sydney Carton. The mounting of the
play is magnificent, though in the last
act the propriety of using three scenes
for no other observable purpose than
to give Mr.. Miller the opportunity to
make one speech of perhaps fifteen
words as he stands beside the guillo-
tine awaiting execution is questionable
There is, of course, no need to attempt
to tell the story of THE Only Way"
1t adheres closely to Dickens novel in
its salient points.
Edward j. Morgan, the man who, l
have always believed is destined some
day to become the greatest actor in
the United States, was a distinct dis
appointment as Defarge. Possibly spur
red on by the knowledge that Mr.. Mil
Ter has many effective speeches in di-
rect opposition to his own, he went at
/ his work in vehement manner that
was excessively disappointing to his
| admirers. What made this mistake
more noticeable was the fact that in
the earlier scenes Mr.. Morgan pitched
his voice in low key and adopted
quiet method which was as exaggerated
as his mere violent defamation at the
trial Of Darnay.
OF Miss Margaret Anglin it may be
said that she was very much better
than she was in Citizen Pierre" and
and 1.-THE Musketeers." She, like Miss
Filkins, was very good in the quiet
| scenes, but inadequate in the stronger
ones, Of which, fortunately for her,
there were Lut few. In most of her
role, in fact, she had nothing of i'm
portance to do, except to look sad and
to faint once. And, by the way, this
faint Of Miss Anglin is the most per-
| feet thing of the sort l have ever seen
upon the stage. She is standing against
| the wall, and when Carton, with whom
| she is desperately in love, leaves. she
| just topples over forward. There is no
gasping or elutching at the air; it is a
collapse pure and simple, and its sud
denness and the complete lack of pre-
paration serve to make it an exceeding
ly artistic "bit"
l have dilated on it before. but there
is so much truth in the statement and
its significance is becoming so much
greater each day that it will do no
harm to once more call attention to the
/ tendency to underact, which seems to
be the fad of the moment Time was
when an actor who had a strong role
intrusted to him felt called upon to fol-
low what he was pleased to regard as
the Forrest uethod." 1t was general
ly conceded that Edwin Forrest was a
ranter, or, what is colloquially termed
/ &c. -.
agine that he succeeded because he
beloved, when they should have known
that his wonderful ability caused him
to succeed in spite of his believing.
The effect upon the American stage was
demoralizing. At length the ice was
broken by Edwin Booth. who never
found it necessary to yell in order to
score appoint. The small fry followed