Evening star. [volume] (Washington, D.C.) 1854-1972, 1902-11-11
ADJUSTMENTS.


night was refreshing variation from the
mediocre monotony that has characterized
the dramatic season so far. The company
is one of those organizations whose per-
formances survive gratefully in memory
season after season; whose work remains
as a standard of comparison for produce
lions of similar nature. 1t merits sweep
ing and almost unqualified commentator.
The character studies are mnutely' hu-
man; the auditor is brought into such
close Misunderstanding terms with them that
he forgets to admire the art by which these
results are attained. 1t is a mistake to
destroy the illusions by the abrupt and mat
ter-of-fact manner of acknowledging cur
tain calls. The various people who make up
the cast will be found worthy of the
acquaintance of any student of human ma
ture, although the playwright has followed
the fashion of the time, and by means of a
promise to reveal some specimens of novel
interest and exceptional beauty beguiled his
auditor In much social mire Eminent
to depend on the cynical theory that
only the wicked people are interest
ing, and the woman with an indef1-
mite past, or conditional present, is
held up for inspection with as little pudency
as If she were a straight-front advertise
ment for a home magazine. The topic
which "A Modern Magdalen'' assumes to
discuss is frankly announced in the title:
SO constantly tempted because of the greedy
pertinacity with which a large element of
the public follows upon the scent Of pru-
rient suggestion and against which critical
protest Is utterly vain. The efforts Of any
writer for purposes of current entertain
ment to usurp the functions of eternal JUS
t1ce and measure out the exact amount of
sympathy or excuse to which a woman who
violates the great social compact is entitled
must be paltry and insufficient "a Modern
Magdalen" is of the problem plays"
which leave the problem quite hope
lessly unsolved as it was when the curtain
first rang up.
The title role, one of great exactions, is
assumed by Amelia Bingham, who plays it
well enough to keep it the center of interest
despite the marked ability with which she
Is surrounded; and this is praise. indeed.
In the quieter portions of the play there is a
slight Renaissance of far-western nasalism
In Miss Bingham's manner of speech, but
in the tense emotional scenes this wholly
disappears. Madge Carr Cook has the part
of the woman who Is compelled by an ir-
responsible spouse to be the head Of the
family. There Is comedy, and withal a
touch of pathos in the cold. fie-like hard
ness which her nature has developed in the
fight with circumstances. So direct and
effortless is Mrs. Cooks portrayal of a role
which might easily be burlesqued that it
is only upon second thought that the gen.
utne superiority of her performance i'm
presses itself. Henry E. Dixey gives one of
terpreted character representations which
lead to confident expectancy when he is an
nounced as the member of a cast. There
was touch Of sympathy for the debonair
old hypocrite of father as Dixey played
him, which contempt could not wholly
efface.
To get sentiment out of the role of the
money lender, cold, calculating-the man
whose conscience had been displaced by
the table of percentages per annum-seem-
ed when the character of Brnker first pre-
sented himself upon the stage like get
ting blood out of a stone But Wilton
Lackaye managed it; and the torrent OF
feeling which rushed forth, once his heart
had been touched, was like the flood from
SHOWS that have yielded at last to the
warmth Of spring. Lackaye's performance
OF this role is masterpiece Ferdinand
Gottschalk has the part of professional
reformer, and plays 1t with the discrim-
nation which was to be expected from
the excellence of his previous per-
formances The revelations of egotism are
effected by means Of such delicate sugges-
ton that 1t becomes Pecksniffian classic.
Pecksnif must have been just such a
man at the age Of twenty three or twenty
four.
1t is impossible to go into a minute dis
cussion of the merits Of each Of the players.
Joseph Holland was effective as the man
about town. Hobart Bosworth deserves
more than passing mention for the man
ner in which he delivered the heroic lines
of the faithful lover, and others in the
company contributed good work to one of
the most evenly meritorious productions
that this city has enjoyed for a long time
No amount Of art can redeem a theme
which Is inherently offensive, and the SUBJ
ject is so plainly announced In the title
that none need be deluded into the idea that
he is going to see a drama Of ideal domes-
ITCHY
COLUMBIA THEATER-"The Emerald
ISLE proved delightful stopping place for
one of the largest assemblages of theater-
goers of the season at the Columbia last
night. The three hours visit in the verdant
land of st. Patrick was filled with delight
full music, the last work of Sir Arthur Sui
Ivan, well and truly sung. Into the center
or the scene Jefferson De Angels would
oftentimes romp, and while he remained
within hearing there was a continual flow
Of the humor which is his inseparabla ac-
compartment. 1t is probably only justice
to say that most Of the fun in The Emer-
aid Isle has been interpolated by Mr. De
Angels. This is true of the lines no doubt
as 1t is absolutely SO with the pranks and
the funny situations he evolves from his
surroundings. The humor of the piece is
practically confined in entirety to the Slip
pery-footed Jefferson. but the trust is well
placed, and there was no want for comic
entertainment. 1t was hard to tell just
where De Angels was the funniest. The
audience fairly roared when he tripped and
lost his hat down the well. Then near the
end Of the first act he came out to hoax the
soldiers, and appeared man whose age
ranged from eighty-three to one hundred
and five, and as he explained how he danced
round and round the fairy ring" there
was no resisting. He is Of the really
funny comedians of the generation.
When Mr.. De Angels was not on the
stage there was music of a sort which
must command admiration In this respect
and in the quality of the singers the EN-
erald Isle comes as a distinct treat after
a long line of overnight musical comedies
which have their dependence only upon
lucre and lingerie. Sir Arthur Sullvan's
music Is distinctive and typical. The score
Ia replete with rhythmic and Smooth-f1ow-
ing melodies, and there is an excess Of as
sociate and ensemble work which is de-
cidedly pleasing. 1t Is interesting in this
pronounced hits last night was the chorus
at the opening Of the second act, while
again and again 1t was the work of the
chorus members which helped to carry the
piece on to success. After one left the cap
ital letters of JEFFERSON DE ANGELS
on the program there was no one name
among the principals which could attract
unusual attention from the theater patrons.
This condition Of affairs proved an enjoy
able surprise, for as the various members
of the cast made their appearance all were
found to be worthy of their roles. AS a
singing organization Mr.. De Angels COM
pany is exceptional The chorus has been
drilled practically to perfection. The girls
combine good looks with good voices an
almost unprecedented thing In these days of
the supremacy of the 'show girl" w. T.
Carleton was perhaps the best-known
49,