The Topeka state journal. [volume] (Topeka, Kansas) 1892-1980, 1900-02-01

of moral leniency in things theatrical
might easily have been famed to a de-
stroying confiagratiOn. But the product
of the effort as seen IN the production
of ''Zaza" proves that Mr.. BelascO was
equal to the task No one will attempt
to deny the indecency of the piece and
probably few will undertake to defend
the presence of such construction on
the stage. But practically all must ad-
nit that it holds attention by develop
ing situations that are intensely inter-
esting.
'Zaza'' is introduced to the audience
as an immoral woman. She is a concert
hall faVorite whose early life has
known no guiding star but a dissolute
aunt Ignorant, impure, unWomanly, a
human reed that bends with the vary
ing winds, she meets a man who for the
first time in her life shows her a semb-
lance of respect. The love in her nature,
a feeling that up to that time she had
no knowledge of, is stirred and almost
instantly assumes proportions of adOr-
alton. She is willing to recognize, with
out impOrtuning, the difference in sta
ton between herself and the object of
her affections, and is content simply
with his presence. The diseased cOndi-
ton of the story is enhanced by the
fact that he is a husband and father.
The absence of his wife gives him the
opportunity of living with the music
hall faVorite for months.
This tale of immortality is included in
the first two acts. The remaining three
form but a succession of cHmaxes.
''Zaza" discoveries that her lover has a
wife, and goes to his home to reveal the
existing conditions
Instead of the wife she meets the
child, and a pure sentiment breaks in
to thwart her intention of running the
home. She returns to TIE house where
seeks her then she tells him she has
seeks there she tells him that she has
sought out his wife and told her all.
Her object is to test his love, and re-
suits only in a demonstration of mans
duplicity. He laughs a. her ignorance
of his real feelings, and she then tells
him she had lied. Again duplicity as
serts itself and he asks to be reinstated
in favor but fully awakened to her sit
uation "ZaZa'' brushes her love and re-
fuses.
Bad as the story is, it Is one that
is old in real life. Perhaps Mr.. BeIas-
cos success in holding interest is partly
due to the fact that human nature is
SO extremely palpable in the material
he had to work upon. But this is no
excuse for the play. 1t has no redeem
ing features from a moral standpoint,
unless the last act can be said to be
one. The action of the play advances
by two years. and "Zaza'' and her
lover meet again. The old love is still
strong within her, but she resolutely
puts it aside because of the wife and
daughter. But even this redeeming
touch is marred by the mans willing
The piece is built for the leading part
Practically all the opportunities and all
the climaXes belong to ''Zaza.'' The
reason is obvious when it is known that
the Encouragement was made for Mrs.
Carter. Ability and perseverance are
both necessary to sustain the title role
and in securing Miss Mable Howard
an excellent selection was made. Miss
Towards work may be essentially diff
ferent from that of Mrs. Carter, but
is natural and accomplished. Her dis
play of capriciousness could scarcely be
excelled, and she beautifully fails to be-
come unnatural in the emotional
scenes. The strongest climax of the
play is where ''Zaza" drives her lover
from her side at the close of the fourth
act, and the audience was so taken with
Miss Towards work that she was COM
PEELED to twice appear before the cur
tain.
Mr.. Frank A. Connor's "Dufrene"
proved a we'll studied character. and
Mr. L F. Morrison's Interpretation of
"Cascarat' was particularly capable.