The Minneapolis journal. [volume] (Minneapolis, Minn.) 1888-1939, 1903-05-13
At THE TIIEATERs
sMetropolltar,nThe Second mrs.

Metropo lltan.--"The Second Mrs. =
queray.'' S95
How elocution differs from eioquence
was the artistic conclusion most ex-5
quisitely drawn last night by Mrs. Patrick
Campbell as pttiful, unpitied Paula. That
the soul and not the biceps5is agitated by
genuine emotion, that the voicesof anguish
ts low. are commonplace factssso ignored
In histrionic practice that Mrs. Campbell $
restfuls arms her breaking sou tones her
unruffled stare OF grief. come as revela-
lions. II only the eleettionist that saw
would remember! If only the rising young
actress would descend to Mrs. Campbell $
lonely level! ~ ~
Nothing else, indeed, than this impelling.
sugsestiveness would be necessary to place
the English actress among the stage elect.
Ono may not overland her Independence of
superficial induces. So transcendent is her
motionless emotion. that her handsome
face becomes even beautiful. 1t matters
little that she has not the grace Of Bern
lhardt. 97ssssrssss .segxS <
OF more import is her appar rent confine-i
ment to the coarser passions. Malice is
hers. and contempt envy and hate, an
animal devotion, bottomless despair.
But sorrow Is her one approach to sweet
ness. With this spectators may sym
Spath1ze. may Sob. But it Is a pathy
that goes out to all Tnalefactors. It is
no tenderness for the tender, no recogni-
ton Of the maiden gentleness that petals
the root Of woman 81 If e. & =
Yet Pinero, who draws the world in
hard outlines on a winters evening. doubt
less intended to sketch In something OF
the beauty Of Camille. to uncover a,
fine soul fiber in the bitterly gay woman
longing for any one's undivided love. The
mild words are heard in Paula's appeal to
her husband. to her. step-daughter, In
her rapture upon feeling the young girl $
free-will kiss But they are sad words.
not tender; they echo stil1#@ the woman
that is, not the girl that was.
Mrs. Campbell's emotional limitations,
Il ever Justified, must find excuse in
Pinero's play. Morse, the butler-yes,
Morse, Is worthy man We admire
Morse. after the curtain has fallen. We
reflect that this servant is the only per-
son on the stage that.wasn tsnore or less
failure. Before consratulating Julius
Royston upon his conjunction with
the one satisfactory role, it might be
fitting to point out that Paula, Sir
George and Lady Orreyed, are: vic
what black clay is the Sevres Of a young
girls ideal; that honest Aubrey himself
has not exchanged vice for wisdom; that
occurring Cayley is a ''tiresome old
woman" as he himself admits; that Mrs.
Cortelyou, the discreet and virtuous Is
! silly enough to confuse military glory
with private reputation; that the lawyer
and doctor weakly flee from ''all this
beastly mess, y'know',; and that even
Ellean, young Saint Ellean, had broken
| half the strings upon her harp before her
false chord was noticed.
| Morse, the butler, thus remains I'M
challenged. He is further distinguished
as the only character without an cpl
gram. Nevertheless, such cynicism dis
putes nothing of the ingenious intensity
in Mr.. Pinero's drama, its people SC
humanity contradictory its spacious dia-
| log coruscating with. Moorish tiles OF
wit.
Emmett King, the Aubrey; Wright Kra.
mer the Cayley; Julius Royston, the
Morse, are professional comrades, by
right, of Mrs. Campbell But Captain
Ardale- Charles Bryant-might we'll have
been the gardeners assistant in costume
and in manner; Miss Rose SDupre talked
| Londonese to the unintellgible verge Of
cockneyisn, and Miss Amy Lamborn, the
Enean, disappointing in all senses. en-.
throned an English woman in all ths
Splendid isolation" Of her dowdiness.
| Costumes by Viola, Albermarle street
London, England
~ g. 5. 3. z-H. B. Curry. /