The San Francisco call., 1901-10-06

NAAC 44EN u dA4l1s dllu pClAdpS
- glance at the dramatic menu that
may be ours next year if we are good,
may not prove uninteresting.
The opening Of the Manhattan Theater
in New York by Mrs. Fiske is regarded
by the devout pIay-goer there as one of
the most significant happenings of the
year The theater has been beautifully
decorated, a consistent, elevated and pro-
gressiTe policy for its mana agement an
nOunced, and the new era inaugurated
some two weeks ago by the production Of
Anne FleXner Lewis play, Miranda of
the Balcony So far as good acting can
&c, Mrs. Fiske's first offering was finely
successful, but the consensus Of opinion
regarding the play itself is less favorable.
1t IS granted that Miranda of the Bal
cOny' possesses all the novelty of out
look and atmosphere that was promised;
that il offers even a great personal oppor-
tunity to Mrs. Fiske, but lack Of action is
alleged and a prepOnderance of the psych-
illogical rather than the dramatic flavor.
A play that is bound to meet with a con-
tinuance Of the distinguished favor that
greeted its first appearance at the New
York Theater Republic on the 23rd ult is
Ian AGaclaren's The Bonnie Brier Bush"
done into drama by James Macarthur and
Augustus Thomas. I wish 1 might quote
in full William Winters appreciation Of
dear old Stoddart" in the part of Lach-
Ian Campbell, in which the veteran actor
has made his temperance on the stage
with such distinguished success. Here is
a bit Of it, however; the critic is speaking
Of that touching incident Of Campbelrs
erasure Of his daughters name from the
family Bible.
In Mr.. stoddart's acting. on the other hand,
the effect is so affecting and lamentable that
it seems above all art and scarcely can be
borne Nothing so simply touching,
erend, awful in its tremendous purpose OF
justice, and so deplorable in its weakness Of
human grief has been seen stage. In
the element Of simplcity-in the something that
comes straight from the heart and goes straight
TO the hearts Of others-this impersonation tran
scends anything Of its class that the present
day has known
It did not seem to be acting-it had all the
truth Of reality. The audience was greatly
moved The performance is one that every
body should see. It adorns the theater It
vindicstes the uses Of the drama 1t is an
honor TO human nature, and it will prove a
great public beneht-coming. it does, in a
time when such blessings as pure play and
q great actor are grievously needed.
John Drew's new play at the Empire
IN which he has a part that is said to fit
him like glove, is 1.-The Second in Com
mand," a four-act comedy by Captain
Marshall, whose "A Royal Family has
of late so delighted the play-goers here.
Mr.. Drew's role is that of a major in the
English army, who is always late for the
good things Of life, late in love, late in
war, everywhere too late. The comedy is
said to have all the brilliance and clarity
Of construction that commonly distin-
gUishes Captain Marshall's work.
The new drama by Sir Henry Irving's
son Lawrence, Richard Lovelace," E H
Sothern's offering at the Garden Theater
is another rather mixed metropolitan sue
cess. The story winds about the courtly
poets life as it is known with consider
able truth to history, but, with the excep-
ton Of the third act Cwhere Lovelace,
mortally wounded, sees again his former
sweetheart, Lucy SachevereI, now mar
RED to his treacherous friend Hawley),
that is unanimously described as strong.
moving and sympathetic, the play is not
regarded as distinguished example OF
dramatic craftsmanship Mr.. Sothern has
won much personal favor as Lovelace,
and Cecilia LOTUS. whose appearance in