New-York tribune., 1901-09-25
THE DRAMA.
MRS. FISKE AT THE MANHATTAN-
MIRANDA OF THE BALCONY"


Mrs. Fiske. heartily greeted by audience of
exceptional intelligence and refinement, opened the
Manhattan Theatre. last night. and acted the
central part in romantic play called
Miranda of the Balcony" The return Of this
fine actress,-irrespective of the new theatre and
the new drama,-is obviously, dramatic event OF
the first Importance. Recognition of the high pro-
fessional rank that Mrs. Fiske has thoroughly and
worthiiy gained was long ago made in this place,
and in honoring her artistic powers and achieve
ments. the esteem Of the present can but reierate
the tribute of the past Mrs. Fiske is in the prime
of life. She has been the stage since child
hood-a period of more than thirty years. Her
capacity as an actress. early perceived,
carefully fostered. Her training has been of the
most arduous description. Her equipment is ample
and her experience great. Sensitive TO the in
iuence of imperlous character and sympathetic
with the ardor of genius she has sometimes con-
formed to a foreign and inferior style-that.
namely. of Nine. Duse: but, in general. her method
has been her own and il is method brightly
marked with originality and deeply emphasized
with power Her fame. accordingly. is no less
peculiar than genuine: her position. certainly, is
unique. Upon Mrs. Fiske than upon sny
contemporary actress now before the public. rests
the hope of the American stage. Other actresses
obey the time; Mrs Fiske aims to control
and direct it. Other actresses are content
to be led: Mrs. Fiske is a leader. Eminent
in art she becomes imperial in the bus-
ness through which art is administered: con-
Jointly with her husband, Mr.. Harrison Grey
Fiske,-a of proved ability, energy, and taste.
the stanch friend and steadfast and potent advo-
cate OF all that is best in the drama.-she assumes
the management of an independent theatre in the
chief city of the nation. Her installation simply
achieved and joyousy hailed, is the unquestonable
augury Of public beneft-for the establishment of
the Manhattan Theatre outside of the Ring and
independent of it, will naturally help to restore
that free, just. and equable competition in the
atrcal business which has long been selhshly, un-
justly, and therefore unwisely impeded here. and
which is imperatvely essential to the welfare of
the stage. Mrs. Fiske's pre-eminent merit is not
questioned by anybody, nor can her success be
even momentar!ly doubted-snce with auspi
cious popularity she combines the potent auxil-
iaries of intellectual character. high purpose, and
indomitable will. weak nature would long since
have shrunk from the wearisome contest through
which this intrepid actress has bravely and tri-
u1nphantly advanced. Mrs. Fiske is not weak
nature. and. she now unfurls her standard and
nails it to the mast. she may well declare. with
the martial poet of valor and of victory
ours is no saplng chance-sown by the fountain,
blooming at Beltane. IN winter 10 fade
Mrs Fiske's acting is not trial. She has
proved her right reign, and she has long been
a favorite. The welcome accorded to her was such
whole hearted American enthusiasm, spontane-
and mpetuoUs naturally gives TO an object OF
| merited admiration. The remodeIled, refurnished
and chastely redecorated Manhattan Theatre is a
safe comfortable beautiful house. luxurious with
out being pretentiously ornate dignfed In aspect
refined IN atmosphere. and characterized. in all its
elaborate fittings and dainty decorations, by that
simplicity which is the crowning grace OF elegance
The new play. founded one of the recent Mac
| milan publications Miranda Of the Balcony" a
! novel by Mr.. A. Z. W, Mason,-has been made by
| Mrs. Anne Crawford Flexner. and edited and
amended through the practical ordeal of rehearsal
by Mrs Fiske. 1t is comprised in four acts; it i'm
| picates twenty speaking persons; it's scene
is laid partly in London. partly at town in Spain;
| and partly In Morocco. Its componenus are those
| of modern social comedy (which is a mixture or
illirerv with fatuous prattle) and romantic drama
IL follows tho novel implicitly but closely, ana
substantially il is abstract of that work-ainf-
ing only emphasize some of its CHIEF situations
and to place its rain incidents In bold relief The
| dramatist, perpless with trite theme and work
ing with eclectic caprice and not with Imagination
| has not invented anything. The hand of the anna
/ teur Is especially evident at the beginning, "nen
persons who another for the first time and
In a ballroom, Immediately begin TO converse upon
personal of the most private descrlption-a
startling precpitancy, nowhere encountered except
upon the stage: and, more or less, this amateur
| hand shows itself throughout the piece. in the
prolixty of needless incidents. the enforcement or
situations and the redundancy of style more
expert dramatist however. with such a story might
| not have produced a much happier result Some
things are impossible. In the play as in the novel.
| Miranda is indicated fascinating woman, and
the central purpose of both the play and the mover
| is 70 portray the effect of her enchantment She
| exists and she speaks. but she seldom or never
| acts Once indeed, she sends letter, with a glove
In it, and eXerts an operative dramatic innuence'
and once she strikes blackguard with her riding
vbip: but for the most part, she represents. not
action. but condition. She has made an unfortunate
| marriage. Her husband,-a fugitive. person VINO.
! II discovered, would be exposed and punished as
felon-is supposed to be dead; TO have perished In
| a shinwreck: but actually. he is alive; and of this
| fact she is made aware. rascal who Is aware
] of H. pursues her with threats of exposure, ana
| compeis her purchase his silence from that
| dilemma she is relieved by simple, straiShtIor-
ward strong and generous friend-a man Char-
! mock by name who has fallen in love with her. ana
| whom she ardently loves IN return. Upon this
friend she imposes the task.-which he gladly ac-
| cepts and heroically accomplishment rescuing
her fugacious worthless, criminal, and desplcable
husband from a state Of slavery in the deserts of
Morocco-a state which, out of revengeful hatred,
| he has been cruelty and horribly consigned by Il
| man 10 whom he has done cruel and horrible in
| Jury; and after this scoundrel of husband has
! been redeemed and brought home he is suddenly
| slain by his ruthless enemy. and so the widow Is
left free TO bestow her hand where she has already
| bestowed her heart Dissected laid bare, viewed as
a central fact, her experience is not in the least
| dramatic She causes action but she Is hSr3eil
auiescent and of the action that she causes scarce
| " a process or a result is either novel or mo-
| mentous.
! M character indeed. could readily have oeen
| chosen more radically nharmonous than this one
is with the spirit and method. the animated moving
| fabric and propulsive purpose, OF drama eve"
| such ingredients of Miranda's story as possess
dramatic bearing are,-in almost every hnS1ahce'-
| dceds and occurrences removed from that heroine
and only relevant to her because her existence as
n woman cher fascination. her social positioh' mel
mental and emotional state) affects the conduct ol
men by whom she is loved. desired attracted. OF
| repelled Fournier Historically constraininG the
discovery of the wreck the finding of the mutilated
| CORPSE on Rosevear blind Hassan Akbar's stealthy