New-York tribune., 1901-04-16


es615ln julian Charles Richman
Gse Wallace worsey
TarEharl. George osbouTne. jr.
William Barnes
FsRS3 Frank Browniee
Margaret Anglin
Marquis Thomas WhrsR
Margaret Dale
There is fresh word to be said about 'Di-
-lounacy" ard the first impression that made
by h-an impression in no way impaired by time
can only now be repeated. Sardous felicity in
dramatic construction has been often and suffi-
Gently demonstrated: his knowledge of human
nature sometimes restricted the neat
limits Of Paris Some only the world
through colored glass. and TO the pig, it is said
everything looks gray. The adaptation OF Dora
is comprised in four acts, and il introduces ff-
teen persons Its action begins at a seaside hotel
on the coast of the Mediterranean. and proceeds
and terminates in Paris It's period Of action is
about Two months: time the spring of 1871 Its
serring consists of four scenes, two Of which
Partisan interiors. Its story revolves around that
pecuIiar desire by which many human creatures
are mysteriousy animated, 70 seem alluring in the
ewes Of others-to possess influence. and to present
extol and indicate the ideals that they entertain
Of themseves.-and is a story of love. vanity and
power Il twists into single skein the threads
Of two intrigues. one amatory. the other political
There is nothing fresh in the line Of observation,
complications in the history OF the world That
nbilosophical monarch whose favorite question
was Who is she?'' showed that he had a clear
sppreciation of human affairs. Many a play has
grown out Of that method Of inquiry. In "Diplo-
macy" two women love the same man. and are op-
rosAd in interest-through his having preferred
the one before the other.-in the fevertsh, mys-
terious silky circles of European diplomatic life
The originality IS in the web OF the intrigue A
snerb situation is provided. in the second act aTis-
e n husband by
of his friends Of facts which seem TO incriminate
the wife whom he has just led from the altar. An
orher and stronger situation supervenes upon THIS
in which the husband intimates 10 his wife the
odiuua that has couded her image in his passion
tossed and distracted heart
The form OF the COMEDY is more admirable than
It's substance. That excess Of rich minds. which,
in the Shakespearian epoch, was won't 10 overflow
end irrgate forrnless but teeung fields OF theatr!
eel fabric has suffered stern repression Authors
row bestow such strenuous care upon the manner
IN which they desire 10 say anything. that they
often end 7y leaving themselves with nothing TO
say II is a period Of rule and line in these mat
rers and every wild flower Of fancy IS instantly
eut down by the shining sickle Of critical judgment
This comedy. however. certainly eliminates in hne
form. The art OF II consists in showing how con-
duc,-as II is forced by the impulses Of character,
accordingly as character is affected by experience
leads 10 sharp contrasts of condition and purpose,
and makes situations fraught with interest, pas
sion and rathos- The brilliancy OF the art is its
light touch Its continuity OF design. rs
cessation when the points are reached. There Is a
little tediousness in the preliminaries and ar the
beginnings of the acts and there is a sort OF
plea for handsome feminine wickedness and grief
plea which stands a very brittle foundation
the curious fancy. namely, that srlhood of hard
ship and deprivation is, any way.
cuse for A woaanhood OF iniquity and shame
Much has been said about woman as op-
pressed and miserable; but observation leads most
thinkers to conclude that woman. in this epoch
has hing her Hav and is commonly
sponsible not alone for her own misery.-if she
suffers any.-but for the misery Of many men whom
she leads ruin And, in general remark upon
the theme OF passion and suffering, II may be said
that human creatures would be camer and more
patient II they could realize that man has no OBJ
vtous right happiness on earth-that nature does
not promise it and seldom gives ft-and that more
endurance OF fate and less personal pother would
be the part Of wisdom Man made for the
world. and the world for man Diplomacy is
a compact nrmA knitted piece: If not novel in sub
stance artfully framed TO interest, surprise and
crafty: possessing delicate exaggeration of char
seter. probability Of incident. occasional e4uivcke
and light. trenchant style. Its moments Of feel
ing create an illusion. and thus show themselves to
be genuine; and It has the eloquence Of passion.
Above all il has the fascination Of a deeply and
continuously interesting story. told dramatically.
with Z consurnmate skill that serves 10 make all its
iprobabilities plausible and its complete structure
congrUous and convincing.
N the Empire representa- tion,-which was oh
served with interest and welcomed with frequent
applause. by large audience,-the authoritative,
decisive acting is done by Miss Jessie Millward.
Gr. Charles Richman. Mr.. Edwin Stevens, and Mr.
Guy Standing. There is some lack Of elegance In
the department OF the actor. during the crucial
of Orlor's explanation Mr.. Faversham
manifested no inherent power no predominance OF
distinction, and no charm OF grace Inc
actual be f. foreign office ma lner or any
thing else. Will always seem common II II
be literally copied and in no way ideal
lied" Nj Standing evinced deep feeling, or at
least the winning sembIance OF il. and made Orlof
synlpatberfe and true a fine fellow and a comrade
10 be loved and trusted. Mr.. Richman has exactly
the frank open manner and the impulsive eager
ness fer Julian Bee uclerc, and he bore himseIf
splenGidly throughout this ordeal In the more eX-
acting passag age-Juian's nquistorial interview with
Dora.-he lost control equally OF himself and the
situation: there should kneeling in that
storm OF passion. He revealed similar furry In
the de.icate interview with Baron stem where
self-restraint and a fine tone Of good breeding
The innate superiority OF a genteman,-wouid tell
with such conclusive effect. Mr.. Stevens was the
perfect embodiment Of craft. as the Baron. but
the inplacabe cruelty OF the man somehow
failed even hint of its existence beneath
his specious exterior. The varnish should
never crack Qt did, when his hand was re
jsctedD. but the soul of such men sometimes
looks through their eyes. Miss Anglin has not
learned either use her voice or so 70 control
her feeling that she communicate feeling 10
others. : suffering who founces up ana
down. screeching squealing. may cause solic-
tuoe, but cannot excite sympathy Dora was weak
and trivial. On the other hand. Miss Mlward dis
played power In every movement and expressed IN
most vital way the passions of love, jealousy and
hatred. The applause genuine,-which is often
not the case this theatre-and the curtain calls
were numerous. There be no doubt of the nler-
lied success OF this revival.
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