Evening star. [volume] (Washington, D.C.) 1854-1972, 1900-03-13
ADJUSTMENTS.

COLUMBIA THEATER.-Out of the
west, like young Lochinvar, comes the
spirit of genuine American enterprise in the
drama. Chicago did much in sending
"Oliver Goldsmith out. That was an
achievement. Quo Vadis'' is a triumph
Considered from whatever aspect the spec
tator's temperament may him to
choose the production commands recogni-
ton a master work. 1t is a pageant a
tragedy, a historic picture and a sermon ali
in one. The production is almost unique in
that the lavish scenic resources of the mod
ern stage are here employed to a legiti-
mate and lofty dramatic purpose. a comic
opera could not be more frvolouSly Splen-
did. a Greek temple could not be moro
symetrical. The rich cOstuming and mas
sive architectural display at first sus-
gest the incongruous impossiblity that a
comedian may step from behind piece of
scenery at any moment and sing topical
song. But this impression is the fault of
the spectators previous training, which has
taught him to associate theatric wealth
only with the fiimsiest kind of artistic en-
terprise. The impression is soon effaced
for Mr.. Stanislaus STANCE has displayed
foresight and skill in starting the action
early in the play with little tagging in the
dialogue for the purpose of merely intro
ducing the characters. 1t is perhaps the
most satisfactory book decentralization yet
produced. 1t is faithful to the spirit of the
story.
There is none of the sense of disappoint-
ment which arises when an old friend is
JnceremOntouSly left out Of the cast in order
to give more leeway for the star The dia-
| logue admirably interprets the mood and
temperament of the speaker. There was
wit. scholarship and art in the scenes. in
which PetrGniis natters Nero-flattcrs 50
deftly that re has no need to fawn. With
all his imaginative luxuriance, SIenkiewicz
has certain righteousness of style. This
is relieved by the SprightlineSS of the dram
atlSt who has wrought of The
sltiOn to d high degree of terseness and
polish, without destroying its dramatic
strength. The fearful RIGHTEOUSNESS OF the
| court of Nero. where thousands of lives
| hung upon the manner in which a cOmpli-
ment is presented to the deSpot is wildly
suggested without being too bluntlv de-
| scribed. And through it all runs the SON.
Der contrasting element of Christian mar
| tyrdom- The production, instead of pre-
sentinS partial and inadequate idea of the
book, develops Its theme beyond the posi-
| bilities of type and paper and gives stu
pendOus picture of those awe-inspring
| days when two great religions were en-
gagged in a struggle for Supremacy-a Strug-
| gle To the death.
We have not yet learned to accept a Chi
| cago success as conclusive Endorsement of
| a plays merits, in spite of the fact that
| the youthful metropolis has not misled as
/ in the past. When the curtain arose on
| the first scene, the peristyle of PetrOnius'
| house, where the characters made their
| Initial appearances there was no room for
| doubling the assurances which had pre-
| coded the production to scenic suf-
| cheney. That one specimen, albeit only a
1 front set designed to screen more elaborate
| preparations. was ample a guarantee
| that neither expense nor ingenuity had been
| spared. But the cast-that is the weak
| point. the cement of pathos in your ordi-
| nary money-no-object production. Con-
| corning Joseph Haworth there was, of
! course, little ground for apprehension. A
\ fine actor, all too seldom seen in this part
! of the country. he invests whatever he does
siSrnl md
| ment. He is an actor from his head to his
toes, for there is not movement or an in
| Election of the voice which does not seem
/ a spontaneous and powerful expression of
| feeling. Mr.. Haworth is one of the few
| men who really deserve to be called great
| actors. As Nicinius he realized the hero
| without swagger; the lover without mawk-
| ishness and the religious devotee without
| cant. But a good Vicinius is not enough to
secure a proper performance of such a
| work.
| Petronius the pandor-the wit. the noble
| friend, the Christian martyr-in a charac-
| ter OF many subtle phases there must be
insuperabe difficulties. Enter Mr.. Ar
| thur Forrest as Petronius. Exit Mr.. Ar
| thur Forrest one of the heroes of the even
ing. smooth, capable actor, who looks tn.
| over-refined product of dccadent civiliza-
| ten. and who at the same time possesses
| the virility to account for his real hcroism
! Chilonides is only a low comedy character
| part. whose influence on the general efrec,
| reed not be great, even II the acting is
Indifferent. Mr.. Horace Lewis chose to ig
| more this fact and make his portrayal OF
the dirty Greek philosopher not merely
| plausible and picturesque. but memorable
| With all these excellences deficient Mere
could be excused To play the part of 9
historic monarch is always difficult under
taking, and If Nero suffices to make up tn,
picture, is all that could be reasonabl,
expected. Again, there is happy disap
| pointment. Edmunds ID. Lyons make thu
part a mastery picture of the besottet
man-beast. such as Nero always appears Il
the popular imagination. whatever may
have heeu his actual personality.
Reputation and fortune have been estab
lished as character representations no NOR,
expert than this delineation by Mr. LYONS
| Alice Fischer was good as the vixenish en-
press AID the fact that Richard Butler i:
well knawn in this city added interest I,
his praiseworthy performance of AuIu
Piaudus- The company is worthy Of fur