The sun. [volume] (New York [N.Y.]) 1833-1916, 1901-12-15
OLD MATTER In new DRAMAS.
AUGIER'S WORK NOT AMPLTFIED
IN TIE FITCH VERSION.
A Quick and I-nconscauentiai Kiss Inc
Only Amorous Act In The Marriage
Congratulations Of Fast Lynne"
In Broadway and In Third Avenue.

enough TO delight people who had enjoyed
sSapho" or disgust those who had not
The impression made was not strongly
good nor bad. but rather agreeably indif-
ferent. This had been announced as a
new play by Clyde Fitch. the inference
being that only the theme was from Emile
Anglers lie Marriage d'Olympie.' and so
there was disappointment in finding 1t was
no more thar an adaptive translation. Odd
originality was looked for in Mr.. Fftchs
work. None was observable. The varia-
tions from Angler modernized the piece
In persons and places, bringing them iot-
ward from half n century past In france
10 III present in England. but there was
no advance in the stagecraft. what hao
been the matter with Mr.. Fftch's wits
when he handled the supper scene without
putting in anything remarkable OF MS
owni With such material given TO him
as a music han outcast changed In name,
but not in nature. the still degenerate wife
of a nobleman, c~arousing at a surrepttious
supper In her duoal home with congenial
~loafers. why had he refrained from F1tchish
realism? OF course, an amplihcation OF
the orgy might have rendered 1t indecent.
and so aroused the purists to violent attack:
but what could have been more desired
by a playwright and an actress who mad
not been ashamed to make money with
.Sapho?" Miss Martinez got a kiss on
the back of her neck from n chap who
wasn't her husband earlier in the play, and
n was reasonable hat something more
violent should happen to her when she
and two worse fellows got drunk together.
But the very wickedest thing they did was
to sing a ditty asserting that shes Out
Upon the Loose without proving It by
any overt act
From another point OF view "The Mar
rage Game" may he regarded as quite in
the moral class with ten Nights in a Bar
room" and Uncle Toms Cabin just
as the good Mr.. Arthur and the good Mrs.
Stowe illustrated the evils Of intemperance
and slavery through horrible examples
the good Mr.. Angler sought TO teach the
lesson that wanton women can't be trusted
10 make faithful wives. Mr.. Fitch has not
diverted or distorted the object lesson by
which the French author undertook 10 cor
rect the harm that Camille" was doing by
the idealization Of vice. The single kiss
applied by an inert dude over the woman's
medulla oblongata and received by her in
a colmness suggesting that she Is proof
against the inflammation Of cerebro- spinal
meningitis, il absolutely the only amatory
thing done. The creature is not ashamod
having been bad as Pussy Carlisle
and she is glad she is bad as Lady Cdrnby,
hut these are facts OF assertion and not of
demonstration, so far as they relate TO
Iascivious conduct. Nothing is done on the
stage OF the Victoria inconsistent with a
sincerely honest purpose Of showing the
folly that a decent man commits when he
an indecent woman.
The regret Of the husband and the shame
his family are emphasized, and a death
is inflicted on the u~nrepentant
sinner. That tragic climax is made ad-
forceful in the acting. Edwin
Arden PLAYS the old Duke. and, as he If also
the stage director. he permits himself TO he
too deliberate with his vengefui deed.
Yet he is very impressive with preparation
to shoot his nephew's wife If she persists
in publicly smirching his proud family
name. Wondrously eloquent are Miss
Martinot's cries OF surprise, pain. anger
and hatred after receiving the punitive
bullet. Writing and rolling in mortal
agony on the floor. she Is a hateful degen-
to the last breath. No girl who wit
nesscs this dreadful death is ever likely to
forget the moral that IL conveys.
The motive of Fast Lynne was used
aeain in n new drama last week on the
East Side Mario Wainwright had APP
AIRED as Mrs. Woods hayward wife
and yearning mother recently az the
Murray Hill. and her audiences had
wept copiously A. about III" sam"
time anot her actress had been laughed
at in the role az the Harlem Opera House.
The different results had been due 90 the DIFF
ference between good acting and bad acting
Madderu fiske's failure In Broad
xay with a new version Of the Did play
ss A mes ns Of mimic emotion II In curious
contrast with Agnes Wallace Villas sue
oo.s with a similar job IN Third avenue.
We, Mr.. Fi-ke is an exceedingly clever
actress, with more than thirty years Of
experience in leading parts and much ~
A. an adyocai. ~ dramatic arr, while Mr..
Villa care-i. though equally long IL not
nearly - broad n" rcap-ons Tor the two
rssults are easy 10 mud Mr. fiSks h a
altar that Shines without warmth. often
brilliant la brain. but always dull IA heart,
surs - triumph IA cyuicism and - hA-'o
in pathns The rrvi"sors asps- HAT h"f
.tirrtnF mnm.nt ~ when -ir turns upon
lsf matrimonial ruoo.-sor With a ufai"
Of saaihlus drnuuciauun bul Mr. villa
A. a nr-I tate rlbiasr Aut rilo- clara
Mnfus sas ausui,iri in 10 Nl-r hult"n
ysrsiuu e 'lasi lyunr- hoe tLu ulnaSay
Nlta i-aHl mote o%ipiYusly ~'Ih Nhh lhr
play az -Iilr orphan iifaf"ss and m'isi ~
4 nsiururd upr daughter ~ 10" dlHllii'Hi
famil, iui 80 laasi tho tfsl too aris might
.sil haat lssu raIlnI iIis rlu 900 No
lins..y &C.. Auii..i nrai AIihnf W.
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