The Minneapolis journal., 1901-11-12
ADJUSTMENTS
III. Reeves Smith at the MetropOIita7
In "a Brace of PartridEes.

Ill. reeves smith at the MetroDOIita7
In "a Brace of PartridEes."
II. Reeves Smith, who proved his worth as
comedian by his effective Characterization
OF the principal role last year in THE Tyran-
ny OF Tears, returns this year with a much
lighter yet very clever play by Robert Gan
thony, rising young English farce-writer.
"A Brace Of Partridges'' is an excellent ex
ample OF English farce Of the better type. in
| which the fun is extracted principally from
the situations Unlike 'Charleys Aunt" one
OF the most popular Of the farces sent across
to us by the English writer's, this play has
the added attractveness of witty and brilliant
dialogue 1t is noteworthy, too, that the com
pl12at1ons which give rise to such merriment
are not essentially improbable and that they
grow out Of each other very naturally. 1t is
relief to be able to laugh at a farce, with
out the disquieting thought standing in the
background, like skeleton at a banquet that
such things never could happen in real life.
Mr. Ganthony has succeeded in tangling his
characters up in admirable confusion, without
at the same time putting too heavy a strain
on the credulity OF the audience. Once you
admit the marvellous resemblance on which
the story turns, and the rest follows naturally
enough. Mistaken identity is, of course,
dramatic device as old as the stage itself
Ingenuity with which he has used the device
in the construction of his comedy
Mr.. Reeves Smith is thoroughly English in
every attitude and infection, and one soon
discovers that his insular mannerisns are
natural and not mere affectation. He demon
strated clearly that he an actor of parts
by the clever manner in which he differentiat-
ed the two characters he impersonated This
was not accomplished by tricks of makeup or
costume, but rather by an indeinable but
none the less unmistakable difference in the
personality Of the two Partrdges. This differ
ence was discerned by the characters on the
stage as well as by the audience, which Of
| course heightened the effect His comedy
work is delicate and refined and far removed
from the boisterous hilarity Of some OF our
comedians. In a way he recalls Charles
/ Wyndham, probably the greatest living Eng
| li6h comedian.
| The supporting company is a strong one
The inimitahle impersonation of the waiter by
! William Eville stands out one of the best
! bits of eccentric character acting seen here
| for long time. Mr.. Evllle's Spiffins is be-
! yond praise-a sketch worthy Of Dickens at
his best. The shambling walk, the vacuous
face, lighted up at times with CLEANS of supe-
rior and even condescending intelligence the
consuming but silent laughter-these were but
( touches Ill Il WOUuerIuI portrait. AQOCn6r me
character bit was Ernest Elton's bailiff no
doubt a more familiar type than the waiter,
but well conceived and consistently executed.
J Miss Margaret Robinson has not the oppor-
! tunities she had in The Tyranny of Tears
for effective acting. but she gives a pretty
and pleasing picture Of the little country maid
! who helps her father at the public house and
who falls in love with the handsome young
artist ocrat. The effective scene in the first act
where the young fellow decides to throw over
family and all and marry his love, was about
| the only chance Miss Robinson had to show
what she could do, and here her simplicity
| and sincerity were admirable. Miss Marie
| Rawson plays the American heiress no doubt
| just as the author conceived that character
! for English audiences-mercenary of motive,
| unpublished Of manner and unwomanly Of ac-
! tion. No doubt it passes current in England,
| but here 1t is instantly seen to be distorted
! caricature. Yet it is interesting as comic
portrait OF the American girl seen through
English eyes.
| The other impersonations are mostly good,
notably the stable lad of Gordon Tomkins,
the impecunious nobleman of Henry Rich and
the scheming stepmother Of Lillian Brainerd.
! W. B. Chamberlain.