Evening star., 1901-12-24
ADJUSTMENTS.

tleman who loved fight better than any
thing save love ITSELF belongs TO the uni
versal folklore, In the opera Mariana"
it has been sung to successive generations,
until the reckless grandee has become
model of chivalry for all nations. Notwith-
standing it's close association with music
the story has afforded several eminent ac
tors material with which to WOO the public
fancy, and portrayal of the registering
young cavalier is a task which no actors
genius may properly disdain. When fight
ing hero appears on the scene, the gallery
gods are SO vociferous in their delight that
they would appropriate him as their own
especial devotee; and their strenuous APP
probation may cause the quieter but no
less sincere admiration which represents
critical taste to be overlooked. Yet it ex-
lists, and Mr.. HackettS impersonation of
the brave gentleman with an empty purse
but a golden heart gives him a goodly lift
on his artistic journey, albeit the efforts to
repair the stout though time-wOrn vehicle
are not wholly expert. If recollection
serves, there is very little that is admirable
in the version now used by Mr. Hackett
that did not exist in the older forms of the
story. There is disposition to indulge in
painstaking explanations of what is to come,
50 that the edge of surprise is taken Off the
episodes and the thrilling incidents which
should serve to make a melodramatic mas
terpiece are presented with the methodie
routine of ordinary narrative. But the adj
ventures of Don Caesar are exciting that
the most -prosaic chronicler could not rob
them of their charm, and it is only by COM
parison that Mr.. Hackett's version suffers.
1t is of course absolutely necessary for
every actor who cherishes ambitions to
have a version of something or other.
But no amount of tailoring can make the
clothes of Don Caesar fit the actor who is
not naturally qualified to wear them. And
no amount of darning or patching can de-
stroy the grace of his ragged mantle when
it falls on proper shoulders.
Mr.. Hackett fits the part, in it's serious
and romantic aspect to nicely. Its hu-
morouS abandon is not accurately ad-
justed to his temperament. 1t was the
soulful rather than the frolicsome Don Cae-
sar that the audience at the National The
ater last night applauded to the echo and
honored with curtain call after curtain call.
The supporting cast showed a varying
range of capabilities. Jane Oakes acquit-
ted herself with credit as Mariana; George
LIE Soir dazed the audience with piece of
go-aS-you please comedy in the guise of "a
fop of the PERIOD Mr. LIE Soir is one of
the lustiest fops that ever frivoled.
One of the most impressive characterize
tions in the cast was that of LaZarilla, by
Miss Fernando Eliscu 1t showed a depth
OF feeling and temperamental warmth
that bespeaks, under proper development
a notable future for this actress.
Among the best things of the evening was
the drinking song in the second act. The
dramatic company that seeks for the mo-
ment to transform itself into a comic opera
chorus usually gets rather pallid results,
but this number was sung with captivating
enthusiasm.
Mr.. Hackett's play gives him good op-
portunities for the display of his talents as
romantic actor. 1t would be considerably
improved, however, If he could persuade
himself to put in an hour or two after some
performance and de-versionize it.
COLUMBIA THEATER.-A vaudeville
sketch in three acts, decorated by an ar
ray of chorus girls and pretty scenery is
the epitOme of THE Governors Son. as
given last night at the Columbia Theater
by the Four Cohans. This quartet of come
dians, so long an institution Of modern
vaudeville and so well known to all patrons
of the vaudeville theaters, have now come
out with what is termed a musical farce.
The name is apt, for the piece is farce from
beginning to end and good deal of music
of light and rhythmic character is inter-
jected at various points. Those who are
familiar with the vaudeville work of the
-Four Cohans found them last night in con-
genial roles. The play suited them, as
their sketches have in the past. George NJ
Conan, the son, has written and helped in
acting the sketches for the family tours in
vaudeville and now has become more am
bilious than ever and produced a farce
which runs over three acts and contains
more complications to the square minute
than any other effort of the contempor-
aneous school. The audience seemed en-
tirely content with the -Four" When
they came together in the center Of the
stage at the finale, an outburst of applause
attested the fact that the performance had
pleased. The supporting company was per-
maps not all that 1t might have been but
as nothing was Of moment but the Cohans
the deficiencies of the remainder were
hardly noticed.
There was one in the cast outside the
family circle who attra cted attention and
won hearty commendation. 1t was Ethel
LeVey. Since she appeared here in vaude-
vile two years ago the lissome Ethel has
been under the dread indictment Of having
hrSt perpetrated a song about specimen
of the feathery tribe in cage of gold upon
an unsuspecting audience. Last night she
sang and danced in defense of herself and
at the conclusion of the trial was unani-
mously exonerated and acclaimed a clever
girl. The Cohan family is weH-known in
Washington and will probably have a pros
porous engagement.
LAFAYETTE SQUARE OPERA HOUSE.
From IAN Enemy to the King" which
was produced by the Lafayette Stock Com
pany last week, to Hazel Kirke" which
was presented last night, is a transition
from the palace to the cottage. Frills and
furbelows are replaced by dimity and home
spun, and tinseled bravery by the simplicity
OF the unassuming peasantry. Since it
came from the pen OF Steele Mackaye, some
twenty years ago. "Hazel Kirke" has been
used and abused In more ways and oftener
than falls to the lot Of most plays AS pro-
duced by the Lafayette Stock Company it
10 HUI 10 tHdu OTulldrlly satisfactory. 1t is
staged with intelligence as to scenic details
and is, in the main, capably interpreted
Compared with the latter-day Offering of
historical romances, dramatized novels and
the prismatic opulence of the musical
comedy, Hazel kirke' is a study in gray
and altogether old-fashioned. 1t is the orig
inal heart-interest play. The drama of the
obdurate father and the wayward daughter,
who is driven forth with the paternal curse
upon her head and a pathetic goodbye,
old home,' upon her lipS.
Guardian angels are frequently called
upon to protect and many other things
equally melodramatic appear at frequent
intervals. In spite Of all, however it COM
mands attention and interest by it's direct
ness of action and its rugged strength In
the character of Dunston Kirke, Francis
Powers has an unusual opportunity for the
display of his abilities as the unrelenting
parent, whose heart is as flinty as the
crushing stones that rumble ceaselessly
within the dusky hollow of his mill Lii
liam Lawrence as Hazel, the wandering
daughter, Is, as usual, the painstaking and
careful actress White Whittlesy as Lord
Travers, is good to look upon, which is all
that should be required of the part, and
John T. Sullivan lays aside his usual vii
lainy and appears as Squire Rodney, the
good friend with the helping hand. Charles
Wyngate'S PitticuS Green is a NOT able to,rcI,