The Topeka state journal. [volume] (Topeka, Kansas) 1892-1980, 1900-04-16
AT THE THEATERS.


Topeka theatergoeI's have seen two
D'Artagnans this season. The first came
several months ago-a young man prac-
ticaIIy unheard of in stage annals, who
before attempting The Musketeers'
had delighted gallery gods with a blood
and thunder construction based on the
Cuban struggle for Independence The
second was here Saturday night in the
person of Mr. James O'NelIl, who for
wears has held leading place among
the romantic actors OF the American
stage. Yet as far as making the Gas
con youth of Dumas famous novel live
before the footIights, Mr.. James O'NelI,
the veteran must give way to Mr.. Paul
Gilmore. the recruit.
Mr.. O'Neill does not look the part OF
D'Artagnau. Mr.. Gilmore did He does
not stride with youthful SWagger and
enervesce from youthful enthusiasm at
the slightest provOcation. The differ
ence in the ages of the men is probably
responsible for the difference in acting
the Dumas hero. Mr.. O'NeIl is not an
old man, but he is by no means as
young a man as Mr.. Gilmore From
the moment he rides into view on his
Gascony steed, it is Mr.. James O'Neill
and not ''D'ArIagnan" VINO is before the
audience.
The lines of the part Mr.. O'Nein reads
admirably His portrayal Of ID Artag-
nan is a finished piece of work. But
the fact still remains that he is not the
! "D'Artagnan" of the novel, who dashed
into all manner of escapades and adj
ventures out of sheer animal spirit
| His nearest approach to the character
| as Dumas wrote il is in the scene with
| 'Miladi" at the Cardinals house In
! several other vigorous passages his
spirit and enthusiasm are noticeably
forced.
The most striking feature of the sgd
ney Grundy version, which has been
provided for Mr.. O'Neill, is the branding
of Anne de Breun' in the prologue. It
is as hOrrlfying, if not as prolonged, as
the torture passage of La Tosca" and
Under the Red Robe" This unique
opening in the dramatizatiOn of THE
Musketeeers" serves to introduce Miss
! Maude Odeu, the "Miladi' of the piece.
Her emotional work in the role is as ex-
cellent as her scream of pain is realistic
when the branding iron is applied in the
prologue. In the fourth tableau of the
production it is necessary for her to
work herself into a hysterical fury, and
If the great French novelist were now
living he might reasonably be proud of
the way she does it. It is a scene, which
if underdOne or Overdone, would make
Miss Odell ridiculous and therein lies
the severity Of the task which is hers
almost nightly. Miss OdellS face and
eyes and form make her an ideal
'Miladi' and she interpretS and pOr-
trays the part with rare intelligence.
The dramatist has arranged the novel
into a series of ten tableaux, which ex-
elusive of the prologue, takes the Dumas
hero only as far as the earlier arrange
ments. However, a number of changes
have been made in depicting the Incl
| dents connected with ID Artagnan's''
career, with the result that a strong
stage story, more inclined to the melO-
dramatic than to the romantic, is pro-
vided. 1t has been given every advan-
tage in the matter of elegant scenery
| and elaborate costumes.
Several characters which members of
Mr.. O'Neilrs supporting company are
responsible for could be improved upon.
A notable instance is Mr.. Jefferson
LlOyd's "Athos" His appearance and
! demeanOr are not true to the role. Mr..
Edmund Breeze's 'Richelieu' is only
fairly satisfactory. Miss Norea
| O'Rrien" and Miss Gertrude Bennett are
sufficiently capable in their respective
/ parts.
/ The audience that saw the production
| filed the Grand Opera House. Mr..
/ O'Neill and Miss Odell received several
/ curtain calls.