The San Francisco call. [volume] (San Francisco [Calif.]) 1895-1913, 1899-12-17

She has done IL merely In a sentimental
mood OF pity for the chivalrous, tender
hearted husband. But. OF course, the
wife misunderstands II. This is one of
the simple things which cause the inter
esting action OF this very interesting
play. The plot is simplicity itself, but
It is acted with such skill and has such
clever dialogue that the spectator is alb
sorbed. All the actors concerned portray
their parts with discretion and ease.
John Drew's polish and ease, his dig
nifty and finish have never been more
manifest than in this representation of
the tender-hearted husband who has been
so easily ruled by the quiet tyranny OF
tears, but who asserts his rights to JUS
tice in the end. The climax of the second
act, when the wife leaves home for her
fathers house, is remarkably well worked
up, and in her acting here Miss Irving is
at her best. The third act shows with
especial significance Mr.. Drew's adroit-
ness and refinement. His delivery OF his
lines is marked by the clearness, the dis
unct enunciation. the cultured modula-
lions 70 which we are accustomed. He is
an actor OF authority and charm. His
style is finished, polished, perfect in train
ing and breeding. He shows his illus
trious ancestry in a thousand attractive
ways. Mr.. Drew deserves all the success
he has had since he left the Daily COM
pany and began his career as an indie
pendent star. He has shone with bril-
liancy and radiance these eight years,
and each year seems to strengthen his
hold upon the esteem OF the public His
appeal is TO the cultured, the refined, the
lovers OF true and OF noble art. Tho long
run OF THE Tyranny OF Tears at the
Empire Theater is tribute to his per-
sonal popularity as well as TO the interest
OF Haddon Chambers play. When he
leaves New York Mr.. Drew will be
missed. but the country at large will en-
Joy seeing him; and then next year. when
he comes again. then-then he will receive
& welcome BETTING his rank in the world
of art
z. n. Southern.
When call 1.-THE Song of the Sword" n
melodrama, II is in it's strictly scientific
sense. that is. It is play in which situa-
ton rather than the development Of char
acter is the prominent characteristic The
ordinary melodrama, so called, violates
probability at every turn. Its emotions
are conventional and commonplace; Its
sentiment is fiimsy. with a constant appeal
TO the gallery. Not so with the play I'm
which Mr.. Sothern is now appearing at
Days Theater. 1t is a romantic drama
In its best sense. The story IS coherent
and probable; the characters are natural
as we'll as pleasing. There is ''atmos-
phere," picturesqueness. vigorous action.
impassioned dialogue. The costumes and
makeup OF the actors are rich and con-
vincing. Praise must especially be given
to the appearance of Norman Parr, who
looks like Napoleon, acts like him and
speaks as We imagine Napoleon would
have spoken. 1t is the General Bonaparte
OF the Italian campaign OF 1876, with his
thin, spare figure, his long black locks.
his nervous gestures, his austere express
sion, that is here represented; and Mr.
Parr looks as II he had stepped out OF an
old picture. The part which General
Bonaparte plays is not particularly TO his
honor. OF course, II is not historical, and
does not pretend TO be.
Mr.. Sothern is 'ci devant." Once a
Marquis. he has taken sides with the rev.
olution, and is now a captain in the army
The scene is laid in Italy. on the eve of
the battle OF Lodi and a few hours after
the bridge has been crossed.
Virginia Harmed is an Italian Countess
whose sympathies are not with the
French. The first act takes place in a hut
near the Countess castle. The Countess
is disguised as a peasant girl. Captain
Egalite IMr. Sothern) rescues her from
one OF his soldiers, suspects her disguise.
but conceals II under an assumed
badinage. When he chances TO leave the
stage. she learns from the man to whom
she is betrothed that he has important
dispatches to deliver to the Austrian
general. But when he learns that the
roads are filled with French soldiers he
is afraid TO start on his dangerous
errand. Thereupon the Countess re-
proaches him with cowardice and de-
termines TO carry the dispatches herself.
IT. 49,
The plot hinges on the Countess effort
TO carry out her resolve; upon Captain
Egalite's pursuit OF her; upon her fall
ure; upon her being seen by Bonaparte
who is captivated by her beauty and ami
mated BY the desire to win her; upon the