Evening star. [volume] (Washington, D.C.) 1854-1972, 1902-12-09
ADJUSTMENTS.

COLUMBIA TTIEATER.-''The Joy OF
Living" by Hermann Sudermann, does not
fulfill the blithe promise which its title I'M
plies. 1t is a grewsome play, play In
which the conflict of sensualism with con-
science is waged through five acts without
decisive victory for either side. It leads
the spectator into scrutiny of subjects
which. essential as they may be in human
affairs, shouldd be reserved for studious
and scholarly consideration and not ex-
banded Unfortunately before the casual
amusement seeker whose conception Of the
authors logic is almost certain to be mex
act, and whose sympathies are more than
likely to go astray. Only the most cold
blooded advocate of the dictrine of sur
vivaI of the fittest' could commend 1.-THE
Joy of Living to all classes Of theater-
goers, regardless of age, education ana
worldly experience. The atonement OF
fault is relentlessly exacted, 1t Is true, IN
the authors scheme, but 1t is made with an
air of picturesque bravado that allies the
play to the pernfcious juvenile novelette,
which depicts the outlaw going In glorious
martyrdom to pay the penalty exact
ed by an ignorant and unfeeling jury:
The auditor who is willing to devote men
tai energy to the task may undoubtedly
draw a righteous lesson from the play by
pointing out that a rational mode OF me
would avoid the disaster into wh1ch the
characters are plunged. But when "o-
man Of superior personal graces and ex-
ceptional intellectually is made to Dear the
burden of a fault alone. the imagination is
overwhelmed by the appeal and sympathy
def1es all analytical conclusions
The play does not reflect any especlal
credit on the eminent German writer from
whose pen it comes. The effort to give the
story theatrical interest destroys its claim
to consideration as sincere ethical study.
Ind does NOT 6fSDlaV the cold, Gill;
ical directness in demonstrating social
theory that characterizes 1bsen. He pauses
to evolve striking situations and descends
to an artificiality of sentiment which COM
pels dstrust. He chooses as his types
characters who are high-strung and sensi,
tive almost to the point of morbid1ty ana
offers them as representative OF society III
general.
Mastery ability is shown in the develop.
ment Of the situations once the interest Oh
the spectators in these overdrawn charac-
tiers Is established The scene in which the
son is called upon to pronounce his fathers
doom is reached with a quiet consistency
which gives it enormous artistic intensity.
1t need scarcely be said that Mrs. Camp
bell displays great efficiency in the por-
trayal Of "Beata," whose misdirected afec-
lions so irresistibly invite pity. In the face
ofethe Endorsement conveyed by the assem-
blage of so brilliant an audience as that
which occupied the Columbia Theater last
night condemnation of her choice would
be Quixotic. Mrs. Campbells art is UNI
mistakable; her methods are incisive and
convincing. She reaches climax swiftly
and unfalteringly. and regains her equl-
poiSe with the ease of one whose supreme
self-confidence is backed by abundant
knowledge. Her performance commands
the unalloyed admiration which must be
accorded truly artistic treatment of any
theme, however repugnant. Her supporting
company is one Of consistent though not
unusual merit. Vaughan CHASER. as the
lover, sustained part of great responsible
ltV In CaDaDi6 manner. and Frederic
Kerr was as impressive as the average
European dramatist permits the good-na-
tured and unsuspecting husband to be-
Charles Rowan, as a cynical prince, gave
utterance to some of the most atrocious
sentiments that ever fell to an actors part
in a manner that was duly cold-blooded.
The applause last night was abundant and
sincere.
GIIOSTS.-The performance Of Ghosts"
in which that excellent actress. Mary Shaw,
was to appear at the Columbia Theater this
afternoon, has, owing to numerous requests,
been postponed until tomorrow.
NEW NATIONAL THEATER.-Assum-
ing that the main province of the newspa-
per account of the presentation of play is
to describe, for the benefit of prospective
playgoers, the character and scope of the
presentation and the ability and merit of
the actors, from the writer's viewpoint,
without dissertation upon dramatic ethics,
the task is easy in the case of the play now
running DIT TIE NE" NdtlOldl soliti
Holmes as put on the stage by William
Gile.,e and his competent company, is cal
culated to satisfy the most jaded appetite
There is not a dull moment in the four acts
the audience probably would hail with de-
light the announcement that another act
had been added-and the expectation and
curiosity Of the audience are wrought to
high tension before each climax.
Whatever may be said in criticism of the
motive and construction of the Sherlock
Holmes stories, 1t cannot be gainsad that
they hold the attention Of the reader. The
books sell, are widely read and thoroughly
enjoyed; after all, Is not that good test
of public appreciation: The play Of "Sher-
lock Holmes" constructed by DR.. Doyle
and Mr.. William Gillette, appeals to the at
tention and holds the interest of the observ-
er as the books did of the reader. Proba-
bly, the character Of the play may be de-
scribed In that line.
The artistic dramatic quality Of the per-
Torrance wherein Is shown the hand of Mr..
Gillette, serves to redeem 1t from the melo-
dramatic, to which less delicate handling
would subject 1t. In the third act, the gas
chamber in stepney, where Sherlock
Holmes has been entrapped by his implaca-
BILE foe and Is about to be put to death, the
dividing line from broad melodrama Is very
narrow, but Mr.. Gillette never oversteps
the boundary for a moment.
The story of the play is we'll known, as 1t
was presented here last season. The motive
Of action is a duel between two great
minds, one centered upon the preparation
Of crime, the other upon its detection and
punishment.
Mr.. Gillette finds In the character Of
Sherlock Holmes opportunity for full dis
play of his style of depressed dramatic ac-
ton. Holmes, cool, cynical, fearless, sar-
castle, is apparently man after Mr.. Gill
lettes own heart. The company supporting
him does not contain one member who falls
short Of the requirements of the role as
sumed.
LAFAYETTE SQUARE OPERA HOUSE.
An atmosphere charged with the cleo
tricity of Irish patriotism and infused with
true Celtic wit that flashed at times into
sarcasm pervaded the Lafayette Square
Opera House last night, where Brandon
Tynans Robert Emmett was presented
for the first time in this city. Mr.. lyman
had the title role and made most favor
able impression, his handsome stage pres
ence and power Of defamation making the
character, naturally bristling with oppor-
tunities for heroic work, a notable one.
Mr.. lyman, while youthful in appearance
and in reality, showed promise Of much
that is to come should he follow out the
line of work he has at present selected.
Robert Emmett follows history as care
fully as could be expected in production
Of this character. The lines have a dis
tinct literary merit, there a number of
character roles that are capably sustained,
and the situations, while sufficiently melo-