New-York tribune., 1901-10-10

OF Cadenabbia, and after feeble and nerveless
struggle with poverty, Iris is Maldonado's mis-
tress, without friend in the world except the
faithful Croker Harrington. The millionaire,
having wrought his closely calculated vengeance
for his first dismissal. is still the ardent lover
and renews his offer to marry her; but she is
cold and repels him. asking for a weeks delay
in coming to decision. The return of Tren-
with is secretly announced by Croker Har-
rington, and she first writes and then tears up
note asking him to call at the fat The
amiable gobetween agrees to deliver a verbal
message. but the suspicious mionaires eye
sees the scraps OF paper in the basket and by
piecing them together learns the secret OF his
rivals temperance. and vows vengeance upon
her. The fifth act includes two highly dramatic
duoogues. First. the lover from Canada re-
turns. overjoyed with the excitement Of seeing
Iris again; but when he learns the hideous
truth in a confession made with an undertone
Of hope that he would find II IN his heart to
forgive her, he can only mutter that he is sorry
for her and go away in silence. without back
ward glance. Next appears Maldonado In a
frenzy OF murderous rage. adding violence to
coarse insults, and recovering selfrestraint
barely in time to snake her off and order her to
leave the house. Iris staggers toward the door
and goes out alone into the blackness OF the
night. Maldonado. IN final outburst OF wrath,
smashes the window glass. furniture and or
naments like a madman as the curtain falls.
The first night audience was fascinated and
spellbound by this play, and utterly dazed and
silenced by the closing passages. The most In
genious unraveller OF plots could not have
guessed the final situation, with the crushed
and despairing Iris bounded into the street and
the infuriated Maldonado raging like a wild
haac In hsc lugr
pause for reflection. it was perceived to be the
natural. artistic and inevitable ending Weak
and vice had neither been palliated. nor
veneered with respectability. crowned with
honor but had been traced with analytical
power through the final stages Of degradation
and degsneracy. and the woman had been
turned adrft into the streets IN accordance with
the rough justice of the world while such pas
sion remained behind tore itself into tatters
in frenzy OF excitement
If It be the moraists point OF view that an
unchaste should never be represented
on the stage. there is an end OF the matter so
far this play is concerned; but that seems to
puerile and illogical method of condemning
earnest drama, which has been put together
with definite ethical purpose Neither man
nor woman Will be the worse for seeing Iris"
1t is a homiy for purity and self-sacriflc more
powerful than any sermon from the most out
spoken and eloquent pulpit, and IT is warning
against self-indugence sordidness and luxury
which fairly burns itself into the memory. 1t is
a gloomy. painful and disagreeable play but the
trend of its five closely written acts is toward
the everlasting verities OF life and retribution.
1t is q drama without technical flaws or In
equalities OF workmanship; the development OF
character is unforced. the episodes have the
breath of life and the story is naturally told,
with an irresistible access OF interest TO the end;
and dark and hopeless is the climax. there
brilliant flashes of wit and irony in the text.
Only great artist who had mastered the re-
sources of his craft could have written this play.
The moralists may rage and imagine vain things
but Iris will remain artistic achievement
and permanent addition to the literature of
the stage.
Miss Fay Davis surprised even her warmest
admirers by revelation of unsuspected emo
tional power and artistic resource in the trying
part Of Iris. There were traces of nervousness
in the opening scenes. but her voice soon be-
came resonant. and her impersonation of the
character gained strength and consistency
steadily TO the end. A brilliant and charming
hostess in the first act and a homeless and
despairing in the closing scene she was
the creature of circumstances throughout, act
ing with sincerity of conviction and emerging
in triumph from ordeal which would have
One of her happiest qualities was a wise reti-
cence, which helped to emphasize the signii-
canoe of the most theatrical expedient of the
play-the use of the checkbook at the end of
the third act. Her puzzled expression. her hesi-
taton. her whimsical of responsibility
and her inability to perceive the serious conse-
quences Of compromising acts were disclosed
clearly though she had been thinking aloud.
Mr.. Oscar Asche, as Madonado acted with
markable power and resource and eprang at a
single bound into the front rank Of English
tors. Mr. Charles Bryant, candidate for
stage honors, played the part of Trenwith with
ardor and grace, and Mr.. Dion Boucicaut, as
Croker Harrington, enriched the performance
with many admirable touches OF grim humor
and delicate technique. The play had been most
carefully rehearsed under Mr.. Pinero's constant
coaching and the performance was Of y high
order OF artistic merit
That Iris will be a popular drama do not
believe for il is sombre and depressing, and
moraIists everywhere will be loud and reckless
in condennng 1t: but TO thoughtful playgoers,
wearied out with the inane and vulgar farces
and melodramas of the time. it hardly fall
IN he a source OF intellectual refreshment az"
artistic delight. y. r.
MR. CORTELYOU GOES TO CANTON.