Evening star., 1902-01-28
ADJUSTMENTS.

tions of the English-speaking stage. He
has given some of the most delightful in
terpretations of simple, human character
that the theater has known. His tread in
the realms of classical drama has been
cautious rather than firm, for the public
has come to regard Mr.. Willard as an in
terpreter of life in its unaffected realities.
Yet Mr.. Willard has voice whose deep
resonance would be finely adapted to the
stateliest measures of which blank verse is
capable. His personality, however, bellies
his voice, and his countenance is so fixed in
generous and genial lines that it could not
for long reflect the fierce, misguided pas
sions Of the tragic muse.
THE CARDINAL his new play, is Wei adapt
ed to develop Mr., Wizards more exalted
powers, and at the same time to keep him
within the limitations which remorSeless
public imposes on those whom they nave
learned to love in gentle moods. Louis N.
Parker, the playwright, has selected one of
the most picturesque and imposing char-
acters in history. Even now the imagina-
ton feels an unwonted stimulus at the men
ton of the name "Medici,' and it is one OF
the most remarkable members of that Won
derful family that the author has selected
as his subject. The play is in many re-
spects an excellent piece of workmanship.
1t handles a delicate theme-the sanctity OF
the confessional-with admirable discretion,
and gives opportunities for acting which
were not fully improved by the subordinate
members of the company. Some OF the
ladies and gentlemen who assist In the per-
formance speak the English language with
local accent so pronounced that 1t de-
stroys any illusion which the scenery and
costumes might convey. When the auditor
Is of necessity asked to overieap the pound-
aries of language; to believe that he is
listening to the conversation OF those VINO
spoke foreign tongue, the least that can
be expected is that the speech employed
shall be delivered with reasonable purity.
Mannerisms are always excusable; but they
ought not to relapse into positive dialect.
1.-The Cardinal Is worthy of even more
imposing architectural splendors than
those with which it has been surrounded
and of company even better than this cr-
ganization, whose Interpretation Is far from
being an incompetent one. The character
Of the Cardinal calls for an enormous
range of emotional display, and Is well
enacted in all it's phases by Mr.. Willard.
Giovanni de Medici, the son and brother, is
finely sympathetic; Giovanni de Med1ci, the
Cardinal, Is a man Of splendid dignity,
whose native majesty even adversely can
not shake There are surprises of plot ard
a denouement so unexpected that the play
almost drifts into the category popularity
designated as melodrama. But the intro
duction Of some real Latin poetry, which is
obligingly translated both in the stage
conversation and on the program assures
the auditor that the piece can be accepted
without question as high-class literature.
A dash of Latin now and then may do
AA>No -
with entire propriety and with most de-
sirable effect.
The ingenuity with which the plot is I'M
folded is extraordinary. The first act is
not especially impressive, but before the
second is half over the interest is aroused
until it must be callous conscience in
deed which could leave the theater in in
difference as to whether it was going to
come out right But the villain Is foiled
in the last act by the willy cardinal, who
tricks him into a confession by an adroit
stimulation of insanity; the lover marries
the young woman of his choice; the cardi-
nal is restored to glory, and they all live
happy ever afterWard. Before settling to 4
full enjoyment Of the play. it is necessary
to wait until the eye has gotten used to
the gentle Mr.. Willard in SO forbidding "a
guise as that of cardinal. Richelieu has
put the theater-going world rather in awe
Of cardinals And it is also necessary to
let the mind gradually absorb the fact that
even a cardinal may be very human and
heart-sore at times. 1t is in inpressing this
latter idea that Mr.. Wizards art is par
ticularly effective.
Important parts were taken by Marie
Linden, A. S. Homewood and Ernest Stall
lard. ]. G. Taylor brought the role of the
aged bell-ringer into Importance by the
manner in which he portrayed it. Sydney
Lawrence had the chief responsibility, next
to Mr.. Willard, and gave a very satisfactory
performance.
COLUMBIA ATHEATER.-" large
recently extinct didod columbine bird with
large hooked bill and clumsy aspect"
There, in the language of the dictionary,
with the exception of the extinct" is
beautifully worded description of Raymond
Hitchcock as King Dodo.'' Those who
were not acquainted with the dodo bird
said last night that he looked like a duck.
1t Is a truly weird and wonderful makeup
and Is one Of the best things in the show.
Bereft of the goose-like gown, the web feet
nd 20, fo,,,
the end Of the second act Hitchcock was
himself again. 1t was not long, however, be-
fore he evidently wished himself once more
in the garb- of the king, for the gallery
was yelling speech at the top of it's voice
and the people down stairs were applaudng
as if insanely bent on splitting their gloves.
Hitchcock looked appealingly at the compa-
ny for support and then hesitatingly stepped
to the front of the stage. He was deeply
agitated and gave every evidence that here
was comic opera without speech written
into 1t. The highly wrought Hitchcock
struggled through a mass of words that
meant 1t was very gratifying to him and
to the members of the company that so
much applause had been bestowed upon
them. He hoped the audience would stay
to the end of the performance, and then
on the point of panic he lifted his eyes
pleadingly upward. 1t was to Hitchcock a
merciful curtain that descended. king
Dodo' pleased on of the biggest houses
of the year at the Columbia. The audience
had assembled with pleasant recolections
of THE Burgomaster' and were expecting
good things from 'Dodo," which is by the
same authors, Frank Pixley and Gustav
Luders. What the Tale of the Kangaroo
was to 1.-THE Burgomaster", the Tale of
the Bundle Bee" is to king Dodo" 1t
came in the second act and the gallery be-
gan to whistle after the first verse had been
sung. THE Tale of the Bundle Bee is not
SO strikingly catchy as was the famous
kangaroo song. 1t is more distinctive,
however, and a much cleverer composition
There Is nothing startling nor ANYTHING
obtrusively new in King Dodo." There
is a lot of light, rhythmic music that does
not tax one too heavily with its remem-
brance upon leaving the theater, lot of
pretty and unique costumes and a chorus
that can sing for dear life. Altogether an
agreeable combination that pleased every
one nightly. The humor of the piece is in
the situations and Hitchcocks manner of
handling them. The lines are not burdened
with wit, and, in fact, there are some pret-
ty severe liberties taken with number of
venerable jokes that have done their days
work and should be allowed rest Hitch
cock has winning way, however, and he
won all the laughter that a comic opera
star might desire. While the bird like
Hitchcock occupied the center of the stage
from masculine standpoint. there was
sharp rivalry between the feminine mem
berS of the cast. Cheridah SimDson IN m