The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1902-01-22

ioea OF the realistic movement, as follows:
Mrs. Patrick Campbell brings to Magda
the advantages OF delicate personal beauty,
OF peculiar type. and the expert facility
OF ripe experience. Tall, 1.-the, slender,
alert in movement, nervous restless, I'M
petuOuS, possessed OF an expressive cOun-
tenance and of a voice that is singular
rather than sympathetic, apt at posing and
proficient in sudden swirls of vehement mo-
ton and ferVent lOquacity, this actress
readily imparts the impression of nature
that is peculiar, distinctive. energetic and
potential Excessive sensibility seems 10
be the predominant attribute or her acting.
and this is combined with a certain wild or
strange self-absOrption, as of a mind in
which fancy exceeds reason and all volition
is governed by impulsive feeling. In the
single gay scene of the drama, that OF
Magda's arrival home, there was abundant
expression of physical exuberance, reckless
MARTY and frivolous character, but there
was neither sweetness nor humor. Mrs.
Campbell seems 10 have but little comedy
and TO be essentially serious actress in
vein that Is bizarre, fantastic and more or
less distraught Her expression of scorn
and contempt, in Magda's interview with
the ltcentiOus charlatan, her utterance of
sarcasm in the bitter, icy, mordant mock
cry of him, her proud exultatlon in defeat
ing, repelling and degrading him and her
impassioned volubility in declaiming about
woman advancement under the sharp dis
cipline of sin and sorrow revealed her pow
ers at their best, showing her to be thor
Oughtly competent performer, in that in
tense, spasmodic school which, both in
considerable prominence since drawing
room walls began to be succeed with din
ner plates and poetical literature to be peo-
pied with blessed damosels. In those pas
sionate speeches to Keller (Which, intrin-
sically, are all flummery and fustian) she
manifested more power OF design than OF
execution, but enough of fervor to create
an illusion of sincerity; and this, in Magda,
is indeed success. Mrs Campbells artistic
character and professional rank as an ac
tress, however, have long been established,
and they are not now to be aScertained. She
has gained a large audience In her native
land. and undoubtedly she will gain a large
audience here. 1t might be wished, though,
and by many playgoers it will be-that her
repertory had been composed Of better and
worthier plays. After 'Magda' the public
is again TO be RECALLED with the odoriferous
Mrs. TanQueray,' the tainted Mrs. Ebb-
smith, the ponderous Mr.. Bjornson's Be
yOnd Human Power and Mr.. Echegarays
morbid and excruciating Mariana Sell
dom has there been, all at once, such
prospect OF mental dyspepsia. But, pa
tlence-and this, too, will pass away Mean
while it should be said-as often has been
said here before-that, aside from all Ques-
ton of an actors personal revelation and
success, art ought neither TO enforce pre-
cepts or teach lessons. Morality will al
ways appear, in everything, and will al
ways take care of itself. The moral drift
OF work of art determines its influence,
and, of course, that drift should be noble;
but also il should be involuntary. The stage
is never less attractive than when ii de-
viates into ethical analysis and exposition
and undertakes to diffuse regulative ad-
mOnlti0nS as 10 the public morals. Such
play as Magda may be needed in Scandi-
navia; it is not needed in America
XXX
Mr.. Hapgood, of the Commercial Adver-
tiser, is the person so politely referred to
by Mr.. Fyles as ''slly fellow with a pain
full grotesquerie of pose and 'laughable
LOOM" For the purpose of this discussion,
Mr.. Hapgood is the representative of the
sincere and studious persons who enthu-
siasticaily forward the realistic move
ment." He is an incisive student of the
drama, domestic and foreign His opinion
of Mrs. Campbell and "Magda." stated in
terms that violently agitated Mr.. Fyles, is
as follows:
Mrs Patrick Campbell. who occupies on
the London stage a more important posi-
ton than any other actress of her years
or anywhere near them, made her first
New York appearance last night at the
Republic in 'Magda' before an audience of
curiosity, which was divided about her
merits. Her experience in America df as
is to be hoped, she forms the habit of peri
odical trips to u.s. will be much what ii has
been in her own country. Probably the most
intellectual persons of prominence now act
ing on the British stage, she is also a wOm-
an whose temperament, appearance, voice
and manner are all so strange and vivid
that, like all striking and unusual person
alities, they stir up strong and opposite feel
ings in an audience. The clientele which
Mrs. Campbell has made hers in London is
composed In hatter1nS degree of the intel
lectual and literary classes. Her hold upon
them grows from her gifts actress,
her holiness and intelligence as producer
OF plays which cannot have mob success,
and the excellence which she always main
tains in her company. AS champion of the
drama which needs an educated taste for
its appreciation she Will be seen more clear
ly later, especially in Beyond Human Pow
err and in 'Pelleas and Melsande The high
level of her company shows as well in
'Madga' as elsewhere. Her own acting
showed some of its merits last night but
also a fault which is far from characteristic
with her-a strain for effect in the emotional
climaXeS, which was probably the result of
a rather irresponsible audience and a nerV-
Gus desire to make a prompt impression.
She showed last night some of the qualities
which justify her position, but she did not
do herself full justice.
THE most charming parts of the play
passed the audience, as they are likely TO
pass any ordinary English-speaking audi
ence, unObserved The very name of the
English version prepares us to expect an
inadequate comprehension of the drama.
'Heimath' tells what the play is about; it
marks the theme; it is consistent with
the elements of the drama in their proper
relations; and the name 'Magda' singles
out one piece of a well-constructed whole
and destroys the proportion and the mean
ing. Our audience is like the English name.
1t is interested not in the nice adjustment
of character, the many-colored and yet sub
dued surface OF the picture, but in the con-
ventional theatrical effects which Suder-
mann shares with many who never dream
of his finer attributes. The delicious first
act. for instance, is full of the comedy of
truth to nature; the comedy which arises
from throwing, in a word, a sentence,
mild clear light on the minds and hearts
and training of human beings; but this con-
slant, mature penetration of Sudermann,
this play of his wit just below the surface,
were not what the audience noticed, or
usually notices. in 'Magda' 1t laughed at
the aunt and at the provincial visiting
ladies, and it accepted in silence comedy of
infinitely better quality. To the yelled sar-
casms and ironies of this act Mrs. Camp
bell did full justice, as did also all the prin-
cipal members of her company"
An extra point to be made in favor of Mr..
Hapgood and those that believe in his
point of view and admire his courage
in exploiting it, is that he alone seems to
have appreciated that the play, not the
actress, is the most important matter. One
person that saw Mrs. Campbell play Mag
da' in New York complained in a letter to
a friend in this city that she withdrew too
far into the play" From afar off. it would
seem that Mrs. Campbell believes in just
proportion among the characters in per-
formance-that 1.-The plays the thing"