Evening star. [volume] (Washington, D.C.) 1854-1972, 1900-02-27
ANU SEMENTS.

Its own, and his interpretations OF Toles
| more less Byronic in temperament, al
| though immaculate in morals, has given
him an almost exclusive foothold in certain
| dramatic lines. An excellent actor, whose
| personality commands interest while his
4 methods inspire respect, he has found the
| greatest opportunity of his career in The
| only Way" whose attractions were so
| great that many who desired to see 1t last
| night could not secure admittance. Sidney
| Carton is one of the ideal types of fiction
which live side by side in the imagination
| with the flesh and blood people of history.
| His story of self-effacement is one of the
| most sweetly pathetic narratives the book
shelf can afford. Mr.. Miller's performance
| of the part may be summarized in few
| words. 1t realizes the character. The
actors rich, melodious voice lends pathos
| even where the phrases themselves are
| barren. and his natural demeanor has the
| instructive grace which proclaims Carton
| one of natures noblemen, who claims defer
ence even though he has forfeited his birth
right. AS 4 study of Sidney Carton the
work is a magnificent one, and the piece
deVOtcS itself vigorously to the develop
ment of this single theme.
While the scenery is profuse and ade-
quate, the performance does not take rank
| as a spectacular reproduction of scenes of
the French revolution. Despite the fierce
interest of the tribunal scene, with its
blood-stirrng duel of harangueS, the love
story is uppermost The mob in this scene
was one of the best-trained aggregations of
subordinate people the stage has seen in
good while. Every one of the tattered
crew, which seemed to thirst for blood like
Romans at a gladiatorial combat, was act
ing There was one bowling vixen, whose
gambols were absolutely blood-curdling and
who deserves something more than the
recognition which falls to the share of
those whose artistic triumphs are limited
to the privilege of filling out the picture"
In this scene Mr.. Miller to splendid
heights, giving the part he played tragic
dignity which lifted 1t away above the
level of mere romance.
The worshiper of Dickens is likely to find
the play disappointing and ill-devised af-
fair. The dramatist who can handle lit
erary masterpiece with reverent touch
as to content the book-lover is yet to ap-
pear AS reflection of the Dickens quail
ity. The Only Way has little value.
Some of the most fascinating characters are
dismissed from consideration with an alb
ruptness which seems impairment. func-
ton which assumes to associate itself with
"A Tale of Two Cities has no right to
eliminate the gruesome matron, Nine. De-
FARCE, and that valiant spinster, Miss Pross.
Even Jerry Cruncher seems to have some
standing slight his connection with the
story proper is. And in lieu of all these the
author presents character of his own in
yention, a young woman whom Sidney
Carton has philanthropically befriended,
and who loves him, although he does not
know it. and who follows him to the scat
fold. She is a very sweet young lady, but
she is plainly an unbidden guest.
Whether these readjustments, which seem
so often like mutilations. are essential to
the popular success of the work. is mat
ter for technical discussion in the privacy
of the playwright's workshop. That an
absolutely faithful reproduction of the book
on the stage is impossible cannot be denied.
How much of its own atmosphere can be
preserved is the question which tests the
ability and artistic sincerity of the pro-
ducers In this performance everything has
been allowed to depend on Mr. Miller and
the of the eQternriSa In q
personal triumph for that admirable actor
Mr.. Stoddard had a part which to some ex-
tent showed his splendid capabilities, in Mr..
lorry. Mr.. H. A. Weaver, jr., was good as
Jean Defarge. and Miss Margaret Dale was
gentle and probable in the part of Lucy Ma
nette. The cast was not without its de-
ficiencieS. 1t was of the most notable
productions of the season. and one which,
considered only a stage Offering must
command wide approval. Two hundred and
eighty seats will be occupied by pupils of
the Business High School tomorrow after
noon.
COLUMBIA THEATER.-Mr Richard
Mansfield is always personally interesting
and dramatically instructive. THE First
Violin" in which he appeared to a distin-
guishcd audience Of standing room proper
tons at the Columbia last night is an
unaffected medium for the display Of his
versatility in the interpretations of char
acter and his subtle methods in the cl,iet
fields Of simple romance. The character of
if Mr. Mansfield is not the sympathetic and
accomplishing man Of sentiment his as
Sumption is a tribute to his art II II he
indeed the man there is shame and comm
SION Tor MS critics ana detract0rs. The
play was adapted by ]. /. c. Clarke from the
romance by Jessie Fothergill 1t is essen
tally German in character and treatment:
German in its spirit of simple genialitv and
Intercourse, 1t is tuned to slumber- leid
and the plaintive quality of the spring song.
II appeals to that pathetic affection which
is felt for bunch of simple flowers gath
cred by childish love on the roadside, and
is impossible of refusal. Music and har-
mcnious blending are the characteristics
OF the production, and the rendering of the
aria from Samson and Delilah" BY Miss
Marguerite Hall in the third act ia an eff
fective elimination and gives actual ex-
preston TO the general theme. 1t q like
a genre picture, a picture of the little life
III a German conservatory town, where mu-
sic is the food of the people if not their
drink In the character of Eugen Cour-
Volsier Mr.: Mansfield is reminiscent of the
gentlemanly and lovable courier in PRINCE
Karl" 1t is without affectatiou There 10
no storm!ng of dramatic heights: .uere
| are none IN sight, and there are no CYNICAL
epigrams to dazzle and deceive. 1t is a
| simple portrayal of the nobleman in the
I story, who to shield the memory of his
| erring wife confesses to forgery by leav-
| ing his baronia, estate and in the guise of
| a musician accepts the position of hrs; vic
| lin in the orchestra of the Ton Halle at
| Elberthal His associates are the Iarre
| hearted Inhabitants of the real bohemia
| and, cheered by the presence of his little
son, who accompanies him, he struggles
/ on until the child is taken from him by
| those who believe him to be unWorfhv ~
| its charge. Then follow days of darkness
| reheNeu only by his untold love for u young
| English girl who sings in concerts at the
Ton Halle Finally in the ancient cha pei
OF The Rothenfels the storm passes and The
sun returns after the rain. Forgiven vim
| dlcated and restored to his estates and no
| sition, ne claims the woman whom he wor-
| shiped when as Herr Couryoisier he nIavad
Ihe hrst violin at Elberthal. The pro-
| auction Is staged in Mr. Mansfeld's usuaI
| careful manner. his company is comnefent
| and know their positions in the harmony
| Eugen Courvoisier is not a great charac
ter achievement for Mr.. Mansfield ..The
FIRST Violin is merely a literary trifie. a
dramatic adagio con expressione
| Miss Oliver as Anna Sartoris gave a vtp
orous rendering of a determined woman
bent on winning the unwilling love of Eu-
| Gene. Miss Blanchard as the daughter OF
Frau Schmidt played the young and loving
maid with an intelligent feeling for comedy
and the May Wedderburn of Miss Molison
was quiet and inteiigently effective. The
gentlemen in the cast were equally cepshIa