New-York tribune., 1902-12-08
IS MARY OF MAGDALA."
Regal Costumes of the Orient Worn by Mrs.
Fiske

No one who has seen Mary OF Magdala at the
Manhattan but who has been impressed with the
beauty and picturesqueness Of the costumes Inc
play is rich In the atmosphere Of the Orient from
Mrs. Ftske down to the huInblest slave OF the
patrician FIavius. all garbed with distinction
individuality and good taste. The Manhattahs
interesting programme states that the fabrics used
found in the Orient after diligent search had
revealed the impossibility OF obtaining them here.
A view OF the costumes confirms this statement
The like OF them is not often even in the
Oriental shops of this city.
More interesting than all others. Of course, are
the costumes by Mrs. Fiske OF themselves
they tell, IN tone symphony, the great story OF
the play. What could better typify Mary than the
gorgeous red gown in which Mrs. Fiske first ap-
pears. 1t is peculiar shade this red. Wine color,
unged with purple, might describe 1t best Inc
material is silk heavy in texture and brocaded
with a floral pattern outlined in gold thread and
studded with jewels. The gown is in one piece
held at the waist with girdle of the same material
with gold clasps. The skirt has a train, and the
decoete bodice is square cut, with shoulder straps
surmounted by gold plates studded with ruoles.
OF similar design the breastpates. Rubies also
glitter in the gold crown. Over the gown is worn
a sort Of loose sleeved transparent cape Of flow
cred red silk crepe edged with wide gold lace and
falling half way down the skirt. Red sandals are
worn with this costume.
More magnificent, however is the costume worn
in the second act, where Mary visits the house of
F1avius. to see from his garden the New Prophet.
The effect is dazzling and the spendor is truly
Oriental. The robe is of heavy cloth-of-gold, of
quality and pattern exceedingly rare. The con-
ventonal design Of the material is covered with a
profuson of rhinestones This gown is cut after
the princesse STYLE with train. The skirt opens
in front, revealing the lining of yellow satin and
the underskirt of red silk. The sleeves OF the
gown are very short, but from them fall loose. flow
ing undersleeves of yellow satin. Here, too. is
crown of large and small turquoises. while the ears
are covered after the Oriental fashion, with clus-
ters of the same stones. From the apex of the
crown hang two wells. one of gold cloth and the
other OF yellow silk embroidered in gold The
wells cover at first the entire head and shoulders,
but after the entrance they folded back from
the face. The costume is truly queenly one. and
well suits the Magdalen in the fulness of her
power.
In striking contrast these sumptuous dresses
are the simple gowns that Mary when
through the influence of Christianity her regenera-
ton is accomplished. In the third Mary, en-
thralled by the new life that has opened to her,
enters wearing a plain dress of black crepe, with
pHcity o? the costume Is eloquent and aptly ex-
preSSIVe OF the spirit of the pentent.
The same simplicity characteriZes the gowns worn
| IN the last two That in the fourth act is
OF the softest crepe delicate in shade. falling
in graceful folds from the shoulders. That in the
last scene is of the same style. but Of purest white.
! Nothing could be more in keeping with the peace
and eXhaltation that fills Mary's soul
Mrs. Fiske has always been noted for her skill
and good taste in dressing but she has moth
| ing more beautiful in material design and senti-
| lnent than the costumes in Mary of Magdala-"