The times. [volume] (Washington [D.C.]) 1897-1901, 1901-01-08

COlumbia-Henry Miller.
Poetry, farce and novelty are dramatic
union so unusual as to be generally oon-
sidered incompatible. That the laws OF
, dramatic affinity are subject to occasional
/ exceptions, was demonstrated to the en-
I tire satisfaction of the immense audience
| at the Columbia Theatre to witness the
| Initial city presentation of a new play
4 by Madeline Lucette Ryley. The literary
combination with the unusual character
| istics is Richard Savage" and indicates
| merit sufficient to serve as a carrier for
that excellent actor, Henry Miller. through
! this and a least succeeding season.
The rather bold problem of unrecog-
nizcd consanguinity forms the chief theme
of Mrs. Ryley's newest effort, which in
many respects will undoubtedly eventu-
ally rank as her best. The historic vaga-
bond poet, Richard Savage discovers the
identity Of his neither, who has cast him
off at his birth, scorned him and pre-
vented his literary and artistic advance
ment. Ignorant of her hatred, Savage
fondly cherishes the hope that she will
recognize him and give him the protec-
ton of her name. and his awakening to
the knowledge of her malice is most cruel
and vivid. But hatred begets hatred, and
eventually the vagaband falls in Lore with
the granddaughter of his mother who re-
turns his devotion. A dying servant OF
the parental home, in search OF revenge
for his ruined home. undertakes a quarrel
of Savage's. kills his enemy and drops
dead ere he has opportunity to acknowl-
edge the deed and so preserve the life of
the man he loves. Finally. friendless and
alone. convicted murderer. Savage
makes a tubercular termination. his
mother disowning him to the last and the
footballs of his fiance bearing his pardon
sounding in his dying ears. A counter
plot of a hopeless love runs throughout
the sombreness is relieved with an abun-
dance of comedy and the interest holds
&c the final drop OF the painted canvas
separating play and players from audience
and auditors
AS earlier indicated. Richard Savage"
is an unusual play, unusual for its strength.
for its novelty, for its poetry. 1t possess
es the atmosphere which endeared THE
Adventures Of Lady Ursula" the poetry
which gave charm to "0liver Goldsmith"
and "Heartsease," and the strength which
causes Jim, the Penman" to survive these
many years. In addition to the literary
merits OF the play Itself Managers Wagon
halls & Kemper have mounted the piece
superbly. costumed it deliberately. and
given Mr.. Miller a supporting company
surpassed at present by no American star.
A trifie undeveloped as yet. are several
parts. and situations, yet the foundation
for a most remarkable dramatic structure
is present Not that the production at
present is a crude one. yet the theme is
so unusual and bold. that all sorts OF fer
tility are noted therein. Tho scenic equip
ment deserves a second reference mark
ing as il does, an epoch in American stage
craft. Mrs. Ryley's work teens with
charming and witty epigrams.
Considering the company, Mr.. Miller is
as usual excellent. Hampered by a slight
indispositfon, his personal vistory last
night was great one. There is soothing
quality to his voice. poetry in his stride,
fascinating something in his personality,
which says that his artistic elimination is
not yet reached, yet that 1t Is not Iar dis
tapt. His modest little speech following
the third act was a model. The climax in
this act is well worked up and his death
in the final scene is quietly and naturally
done, being a masterpiece, in short the
best demise seen locally in any but Ibsen
drama.
There is a comparative stranger in the
company who after Mr.. Miller deserves
immediate consideration. This is Jennie
Justice a former Palmer favorite, who
has long sojourned on the other side.
The role of the unnatural mother" is a
great one, and all its possibilities are not
yet TedIlZSu Dy the lHpeTSOudlOT, YET 81
much she does is good and none at all bad.
that 1t would be carping critic who will
dissemble. Florence Rockwell is sweet
and comedy and generally good, while Ar
thur Elliott is buried in hopeless role
which suits him little. To Joseph Vince
lock is given a weird bit. which is in
some respects one of the best of the play
so well is it done. II. S. Northup is an
excellent dandiied william, and Herbert
Pattee realizes his character only in tine
opening scene. Margaret Bourne makes
a splendid magnetic dash in the close Of
the fourth act, and is worthy of more,
while owen Fawcett is unusually good in
comedy. Nor is Louise Thorndyke Bouci-
cault at all i'll suited in role which dis
plays fine gowns and pretty robes. Her
work is the best since THE Royal Box
which is quite a full mead of praise.
There will be matinees Thursday and
Saturday.