The age-herald., 1901-10-23
ADJUSTMENTS.
Mss coehIan as Becky Sharp.

In the whole range of fiction it would be difficult to find a more interesting, amusing and brilliant parsonage than | Thackeray's immortal Becky Sharp. AL most every person who has read at all, has read Vanity Fair, and this made the presentation of the play Vanity Fair, at the Jefferson Theatre last night by Miss Gertrude Coghlan, doubly interesting.
 While Thackeray possessed to skill full and delicious degree the powers of development of character, and the satiri- cal analysis of conditions his was not a dramatic talent, hence his work with one exception is devoid of what may be called theatrical situation. This incident is woven into the fourth act of Miss Cogh- lan's play-the scene in which Becky pre- pares to sacrifice herself to .-le advances | of Steyne. But the author must weave something of new story, out of the origi- nal theme of course, about Becky to sat isfy all readers. of Vanity Fair. Much, na- turally, of the pleasing kind has perforce been eliminated, characters to whom the novelist has devoted pages of fascinating conform to theatrical conditions. The charm of the book Is largely due to that condition described by the author in the following language:
 And as we bring our characters for ward, I will ask leave. as a man and a brother, not only to introduce them. but occasionally to step down from tho plat form and talk about them; If they are good and kindly, to love them, and shake them by the hand; If they are silly, to laugh at them confidentially In the read CTS sleeve; If they are wicked and heart less, to abuse them in the strongest terms which politeness admits off
 There may be some objection to the play. but certainly none to Miss Coghlan's s interpretation of the leading character. Becky Sharp has and ever will be a sort of hctional puzzle. Some critics have declared that she Is a lovable character. Perhaps she is and perhaps there are wo- men of her kind now, but it is doubtful if the portrayal of such character Is at- tractive to the theater-goer of today. In Thackeray has hidden her lapses from conjugA rectitude, 1t is difficult for many to find anything lovable in the faithless wife, iheartless mother, selfish friend, brilliant hypocrite and consumate egotist than which Mrs. Rawdon Crawley was | none other. And the dramatist while making a faithful replica of Thackeray's creation has perhaps brought out more of the bad than the good. To the close stu dent the sparkling dialogue between in- sinuating situations is an antidote to this. Il. 41,o is given an insight into Becky's early life in the house of Miss Crawley. Then comes the instruction of Rawdon Crawley. the dashing and dissipated guardsman and the favorite nephew of Miss Craw1ey, who has bought his commission, repeatedly paid his debts and looks to him to make a marriage that will set him on his feet. There are quick and significant inter views between the characters that bring together the threads of the story. Becky begins at once to work upon the feelings and sympathies of Rawdon. Suspicious of something of her early career are enter tained by the family. but with tale of her childhoods sufferings she fascin- ates Rawdon as well as gaining his sym- pathy. Then comes. the clandestine mar rIage, Beckey's purpose being to become Lady Crawley. In the second act at Bright on, more of Becky's character is shown. She starts her flirting. In the third act she is the central figure at the military ball before the battle of Water loo. The little adventures here plays havoc with the hearts of the men and wins the enmity of their wives. The act closes with the call to arms, but not be- fore Becky discloses the perfidy of Os- borne to his wife.
 The fourth act is in the Crawley's Lon don residence. The first part of 1t is taken up with a dinner party. The women leave on account of the attention being paid to Becky by the men. Rawdon goes to the club and Steyne enters by a pri- vate entrance. Becky orders lights and supper. Steyne reminds her of a promise made at previous meeting and gives her money. She tells him she will not send that night for her husband, who has been imprisoned for debt, because she prefers his society. Steyne kisses her hand as Rawdon enters the room. There is scene. Becky begs Steyne to corrob- crate her declaration of innocence. He laughs cynically and declares he has bought every jewel she wears and has just given her money. Rawdon dashes Steyne to the floor. He leaves as soon as he recovers and Rawdon begins cursing Becky. Then comes the separation. The last act shows Becky in shabby lodgings in the attic of an inn. Almost her last words are to tell Amelia Osborne that her husband cared nothing for her. She drinks a toast as the curtain falls.
 whether in the forced humility exacted of her in the first part, or whether fin the finale, as she thoughtfully pondered the consequences of possible matrimonial mistake, Miss Coghlan was true to Thack- eray's character. Where the liaison be- tween Becky and steyne Is brought out in boldest relief Miss Coghlan was best The true Becky was here revealed in all her heartless wickedness. The crafty Steyne succumbed to her charms. she pulled the hood over the eyes of the trusting Raw don and when shame and disgrace over- took her there followed that pathetic philosophical calm irresistible in its dram atic effect Miss Coghlan filled the part well and the supporting company was admirable throughout. s. H.
 At the Auditorium.
 Both the matinee and night perform
 ssr,,. T r,o