The Minneapolis journal. [volume] (Minneapolis, Minn.) 1888-1939, 1902-01-03
ADJUSTMENTS
j. HI. Stoddart In ''The Bonnie BrteT
Bush'' at the Metropolitan.

AS dramatic composition, 1.-The Bonnie
Brer Bush" is trite. AS a picture of Scotch
life it has the merit of fidelity. The gloomy
theology that dominates the Scotch mind ls'
delicately s;.tirized and it's powerlessness 10
change human nature or shut out sweetness
and light entirely is demonstrated. The
sense of h,lmor is very strong in all the
branches of the Celtic race and it oftentimes
serves to rescue thef godfearing Scot from
abysses of DESPAIR to which his stern sense OF
duty would otherwise condemn him. Ana
there, are many bright flashes Of. this humor
in the play presented at the metropolitan
last night by j.. H. Stoddart and his excel
lent company.
But the sentiment of the play besides being
trite is sometimes almost mawkish. Harking
back to Hazel Kirke'' and the travesties
that extinguisEed that good old play in floods
of laughter almost fears that Lachlan
Campbell will "curse his daughter back
wards The comparison of this play with
1.-The Little Minister comes almost inevi-
| tably to the mind and it is very much to
the disadvantage pof '"The Bonnie Brier
Bush,' which unlike it's predecessor in the
same field, does not cut loose from the ira
ditional lines, but presents the old familiar
plot, dressed up, to be sure, in dialogue OF
exceptional brightness and with characters
along original hnes-but still the old plot.
The excellence of the company goes far to-
ward counteractng the structural defects of
the play Mr.. Stoddart, now making his first
visit to Minneapolis, after siXty-eight years
on the stage, rescues the character of Lacb-
Ian Campbell the old father whose heart is
gripped by the stern vice of duty, from
banality. Unfortunately the powerful climax
of the play, the moving scene wherein he
casts off ais daughter comes at the end Of
the second instead of the third act where
the principal climax is most needed. Mr..
Stoddart rises to great heights in this
strenuous scene. The simple act of placing
the candle in the window after Flora has
gone forth, leaving the old man heart-broken
and desolate, adds the final touch of pathos.
But there are two more acts in which MI.
Stoddart is eft to depict a shattered old man
whose iron devotion to duty is slowly soften
| ing under the influence of natural affection.
! This he does with simple sincerity-but it is
! not powerful nor markedly pathetic. The
climax of the depcuement is also rather weak
| ened by the premature disclosure to the old
I man of Floras return. Yet a whole the
Characterization Of Lachlan Campbell is
marked by truth and power, while its con-
| trasts are strongly brought out by timely
| reticence.
| The comedy-and there is plenty of it's
! supplied mostly by Reuben Fax in
his fine, il rather highly colored
impersonation of "Posty,' the mail
carrier. Mr.. Faxs with and philosophy
are as Enthusiastically Scotch as the the
| ology of Lachlan the kindly scepticism Of
the old doctor, .capitally played by John Jen
nings. These three, in fact, make trio Of
canny' Scots hard to beat. Miss Irma LIZ
Pierre makes tendcr-hearted, true Flora
upon whose yourg and grlish face every
fleeing emotion may be read. Marcus Ford
as the young lord, makes love to her in toe
| declamatory fashion and his heroics mai
an otherwise we'll conceived piece of work. A
pretty diversion is furnished by Thomas
Mitchell, the young shepherd. played by All
gustine Duncan, and his bucolic wooing Of
Annie, the dairymaid, played with ingenious
coquetry by Miss Bessie Baldwin. Miss Hattie
! Foley furnishes a motherly picture of Mar.
garet. Nor should the wonderfully intelligent
performance of the little misses, Gertrude
Robinson and Edith Taliafero, as the children
who give more than one pretty touch Of
nature to the action, be forgotten Miss
| Maude Knowlton, Kate Carnegie of the
castle, and George S. Probert as the Drum
tochty minister furnish another little love
theme that is intertwined gracefully with
| the others. The inevitable male quartet-fo,
! the farm hands seems as much given to en-
semble singing in Drumtochty as in New
Engand-sings a number of Scotch songs
beautifully, oblivious to the fact that they
! have no proper place in the play.
/ p, w. B. Chamberlain.