Evening star. [volume] (Washington, D.C.) 1854-1972, 1902-02-08
New National Theater.

Modern stagecraft has done It's utmost
for Klaw and changers Ben Hur,'' to be
offered at the National Theater for the
next two weeks. For more than twenty
years General Lew Wallace resolutely re-
fused to permit any stage presentation OF
his wonderful novel, for he was unable to
see how any adequate portrayal of BIBLICAL
times could be placed in a tE1eater without
the suggestion of sacrilege. There were
tremendous mechanical difficulties to be
overcome also, and General Wallace had
almost become certain that his book must
remain as it was. The author is man OF
sincere religious convictions, and the idea
Of presenting divinity in dramatic form
was repugnant to his principles as we'll as
to his feelings. Many proposit ions were
made to the general but none of them at
tracted his consideration until klaw and
Erlanger submitted the plan Of a drama
by William Young. He gave this his most
careful study and finally after many con-
ferences extending over months of time,
expressed his satisfaction with the scope
and essence Of the outline of the play be-
fore him. Mr.. Young then began his work
and the result is the Ben Hur'' which has
played to bigger receipts and to a larger
attendance than any theatrical represen-
tatfon OF which we have any record. The
play begins with sfngularly beautiful rep
resentatfon OF the Star of Bethlehem
There is no spoken word, but the three
wise men, a Greek, Hebrew and an Egyp-
tan, with the aid Of music of remarkable
effectiveness, tell the story of the star with
startling vfvfdness and power. An electri-
cal device such as has never been seen be-
fore shows a strange Hight In the dis
lance, dim at first but gradually increasing
In intensity and power, until the whole
theater Is flooded with Its refaleent ravs
Months were spent in elaborate expert
ments by some of the leading electrical ex-
perts OF the country before this was ac-
complished. Following closely is the scene
in the interior of a Roman galley which,
by the way. is the first representation on
any stage of the between decks OF such a
vessel, with the slave oarsmen at work
changing to realistic wreck scene with
an imposing view of the open sea fight at
dawn. The Daphne festival, with its great
chorus, corps Of dancers and it's picture
or bewildering beauty, just as the tableau
ends, Is strongly contrasted to the last act
OF the play showing the healing OF the lep-
ers on the Mount of Olives. Crowds of peo-
pie are assembled to witness the entrance
into Jerusalem. They bear waving palms
and are eagerly expectant The Divine
presence Is suggested by a pure white
light which falls upon the face Of the lep-
ers who are healed.
The interest Of the audience is largely
conferred IN the chariot race. Two char
lots, each with four horses attached are
shown IN front of a swiftly moving cyclor-
anna representing the interior of the arena.
The horses run at full speed on treadmilIs
SUNK IN the stage about two inches These
cradles IN turn are on movable platforms
resting on railways beneath the stage.
From the audience, the horses run From
left to right, while the cyciorama moves N
an opposite direction. The audience Il
therefore apparently moving with the rae