The Minneapolis journal. [volume] (Minneapolis, Minn.) 1888-1939, 1902-10-17
ADJUSTMENTS
Lewis Morrison In "Faust" at the Metro
politan.

Lewis Morrison In "Faust'' at the Metro
polltan. 49,;
The character of Lewis Morrison's
Faust" in it's literary quality, scenic en-
Vlronment and the manner of its playing,
Is familiar to theater-goers the country
over. AS he explained in the course of a
curtain speech at the Metropolitan last
night, Mr.. Morrison has played Mephisto
almost continuously for the past seven
teen years, until his name has come to
be associated with the drama, just as
any mention Of James O'Neill must inev-
itably suggest Monte Cristo." And yet
Mr.. Morrison Is not a one-part actor. His
early experience in the old Walnut Street
theater, Philadelphia, proved that beyond
any peradventure of doubt. Why, then,
should he confine himself to this one role?
The public demands it" says the player,
and the success that has attended him
seems to warrant the assertion. Joseph
Jefferson has played Rip Van Wrinkle for
even longer time, yet the fact has not
detracted from his fame.
The Morrison Faust is a better play,
according to modern standards, and a
much less effective poem, than its original.
Though tragedy, it is not so tragical as
the Goethe version of the Faust legend.
In Mr.. Morrison's hands Mephisto Is al
most a comedy role, yet the quality of
humor is. of course, sardonic. In short,
the present version Of "Faust" may be re-
garded as the product Of evolution. Its
adapter has borrowed freely from Goethe,
from the old English DIR. Faustus," and
from what is known as wills Faust. "
1t has this characteristic in common with
all: 1t makes no attempt to palliate wrong.
Marguerite is not depicted as a wanton
nor Faust as a ltbertine, but neither Is
any false glamour thrown over their sin,
which is shown to be due solely to the
Vaccinations of Mephisto and not to any
corrupt tendency on the part of the two
mortals most directly concerned. The les
son of Faust is ennobling, and this &C
counts for the enduring character of the
dramas popularity.
OF Lewis Morrison's Mephisto 1t Is I'M
necessary to speak, yet the excellence of
his acting compels praise even at this
late day. His very intonation Is admira-
bly, suited to the mood he attempts to
display, and when, to this is added an
expressive face and aSbrilliancy Of action
attained only after long years of pains
taking study, the players popularity Is
easy to understand.
The supporting company is better than
usual. Miss Florence Whitehouse is fine
ly effective as Marguerite. She succeeds
in bringing out to the full the innocence
and girlish< ingenuousness, of the charac-
ter in the first act, nor is she found lack
ing In the subsequent passages of the
drama, where =rernorse and despair usurp
the, place of quiet content. Her best bit
Of work comes in the third act, where her
grief over her: own eondition and her an
guish over Valentine just rebuff, are de-
picted admirably. 4 ~ .:H# "a J.
The Dame Martha of Miss .Addie Far
WELL the Faust of .Leander de Cordova
and the Valentine Of William Ewing are
|eminently satisfactory. The drama has
been excellently staged and the Broken
scene is made really impressive. Praise
is due also to the setting Of the first act,
showing Marguerite's cottage. It is a
matter for regret that the students quar-
tet, after. singing the martial fFaust''
chorus should spoil the impression thus
created by following it with such: an in
Fcongruous selection as "Peter Piper"
Mr.. Morrison announces this as his last
visit to Minneapolis Not being of that
sex which is privileged to change its mind
both in and out Of season, he may keep
his word. ',t@-7E
u. s. Lawrence.