Evening star. [volume] (Washington, D.C.) 1854-1972, 1900-12-29

"Sapho'' would have been exercised like
an evil spirit from our midst But she is
here again this season, more potent han
ever, 1t was evident that the audiences
were attracted by curiosity rather than
the love of art, for the throngs who made
up the audiences were not the regular the
atergoers. So great was "Sapho's'' pros
perity that the performance Of "Magda"
was postponed until Saturday night.
Herbert Kelley and Effie Shannon's play,
MY Lady Dainty" proved rather color
less affair. The play is not being produced
as Mrs. Ryley wrote it. Her version killed
off the proflgate husband and married his
charming widow (she of the title role) to
her first true love-" Bob Rocket, who
paints pictures and plays the piano, and
never bets on horse races. Mr.. Kelley
may have objected to being killed off before
the close of the play. His opportunities
are sufficiently scant without subjecting
him to total annihilation Mrs Ryley is
now in this country and may make an eff
fort to persuade Mr. Kelley and Miss Shan
non to produce the play in it's original
form.
In spite of the fact that early in the
season comparison was boldly invited with
no less a company than the Empire Theater
Stock Company. 1t would be distinctly I'M
pGny to the same standards of criticism as
those applied to the companies which have
abundant time and the entire theatrical
profession to choose from in casting a sim
gle play. In all charity its own challenge
to comparisons must be ignored. Since the
departure Of Blanche Bates. whose per-
sonal magnetism and indomitabie self-con-
fGenCe We're quite sufficient to insure inter-
est Independent of the rest of the cast,
the lines of the players at this establish
ment have fallen in conventional places.
The plays selected have not revealed Miss
Haswen. who has fully demonstrated her
personal popularity in this city, in the
same advantageous light that in which
she formerly shone so brilliantly and the
work of the other members of the company
has not yet developed anything to com
pensate for her subordination. No doubt
the manager of a theater sometimes feels
Ike the editor of country paper, whose
subscribers insist regardless of practical
experience, on knowing how it ought to be
run. But these suggestions are always
kindly intended. being prompted by de-
sire to preserve a righteous enterprise to
a community which has been experiencing
long-falt want Therefore, there need
be no suspicion of rancor in quiet sug-
eestion to the Lafayette management that
this weeks production of "Aristocracy"
was a very notable example of submediocre
acting by sadly mis-cast company.
Nethersole, the woman. Is as interesting
sole, the artist. When she speaks, her con-
versation is marked by the same animation,
the same enthusiasm she SO often displays
on the stage. With modern literature at
her finger tips. with the broad knowledge
that comes of many travels and with a
rigorous and thorough English education,
she is a brilliant talker on all subjects.
The study of human character Is naturally
of her faVOrite ha or
as it is reflected in her audiences and in
her books. And while Loyalty patriotic to
all things English, she declares she ad-
mres above all other traits, the Individual
ism of the American people. They are not
bound by letters Of CUSTOM and their ear
Is ever ready to listen attentvely, that the
good, If there be any in the recital, may
have its full share Of credit. The American
audiences are nervous in temperament,
Miss Nethersole says, but are quick to
respond to what they like, while ready to
throw over at the moment that which does
not appeal to their taste.
In her prettily decorated apartments at
the Arlington, reached through a hallway
filled with abundantly be-labeled trunks
and port-manteaux. Miss Nethersole sat
last Thursday afternoon. Evergreens were
twined about the chandeliers and looped
along the walls of her private parlor. An
open-grate fire burned cheerily. In the cor
ner was a fpll-hedged Christmas tree all
dressed in tnscl, and laden with dollies
and toys. Nethersole, the woman, had been
up until nearly dawn Christmas morning
at work on the tree and decorations that
the festal day might not wing it's flight
without some sort of observance. The
draperies of the mantel were pinned over
with kilograms received from all parts of
America and England, conveying Christ
mas greetings.
My reception at the National last Mon
day night in 'Sapho. she said, was one
of the most gratifying incidents of my
whole career. Washington is the first large
city ! have played since my unpleasant
experiences in New York. The people here
had seen the play and the woman before,
and Monday evening they seemed to want
to assure me of their kindly feelings and
support 1t all affected me very much. In
my travels never ending 1 take delight in
saying l have little homes in number of
cities and Washington is one Of them The
critics of this city always treat me with
the dignity that every artist, In serious
lines Of endeaVor, so appreciates.
Dramatic critics do not know the havoc
they wreak with a soul by some Of their
thoughtless or iightly-considered words.
The artist Of the stage must be abnormally
sensitive. We must open our whole being
that may receive the impression of
the part we are to play. The pores of our
soul are opened, our hearts laid bare, and
while in this condition we should be treated
in criticism as the surgeon treats a deli
cate patient, and not as the butcher cleaves
his beef. Sometimes in New York. when
unkind things were being said of me. felt
after each performance that l could not
possibly go on the stage again. for l felt
in the hurts that came TO my heart l was
sacrificing life itself.
The gauge of approval, however. Is not
in the clapping of hands, although that
feature is a very pleasant adjunct. know
1 am pleasing an audience when my own
breath is the only one l can hear cone
and go. 1t is then / know my audience Is
brea hing with me, that their hearts are
beating faster with mine, and That have
control of them and can carry them with
me into the very life of my character"
Miss Nethersole spoke Of the fascination
of this power TO sway people with an in
tensity that kindled new fires in ner bril-
liant eyes and lent additional attractive
ness to a personal charm which Is hers
in fullest de7ree. Then she spoke Of
"Sapho.'
in playing Camille I was always struck
with the great sympathy which went out to
the poor woman. Reading Daudets work
thought the resemblance between Camille
and Fanny Legrand most marked. Why
should not 'Sapho.' a more modern work,
appeal to the people as does 'Camille?
asked myself this question. Then l began
a deeper study of the book. and soon was
at work preparing a scenario for a play
l was two years in doing so, as l wanted