The sun. [volume] (New York [N.Y.]) 1833-1916, 1903-10-13
"THE PROUD PRINCE"
Play Which Fits +. II. SOthern Scores a
Popular Success

Edward H. Sothern appeared at the
Herald Square Theatre last night, acting
Robert. King Of Sicily. in Justin Hmtly
McCarthy's play, The Proud Prince. "
He was welcomed most cordially, and even
voclferously by large audience, and the
| play, which was performed here for the
| first time, achieved an unquestionable
popular success
Whatever more serious study may find
IN its story or its construction, the i'm
presslons OF the first night were almost
wholly those of delight. Certain it is that
the author has succeeded in equipping
MIR. Sothern with part calling for the
fullest disclosure of his powers as an actor
and play in which deep and powerful
sermon on life is preached in dramatic
pictures and striking episodes.
Robert OF Sicily is monster Of vice and
as a final conquest he seeks the ruin of
Perpetud, the executioner's daughter. She
resists and he blasphemes. She escapes,
and then the archangel Of the Almighty
appears and in a thunderstorm blasts the
King 30 that he takes the misshapen image
of his own deformed jester
At first he raves and cries, Il am the
King" while all jeer and revi|e him. Then
he becomes humble, and even crafty in his
desire to save Perpetua, whose ruin he has
ordered. She is carried to a resort of
courtesans to be contaminated. He saves
her by proclaiming that he has a plague
infected garment and wrapping her in it,
Together he and she seek sanctuary
in church, where he attains true peni
tence and pravs humbly. After month
they are tracked by the Kings minlons,
for the Archangel reigns and does the
evil deeds which Robert would have done
Then once more the transformed King
saves Perpetua by praying for strength
from heaven, receiving it and with it over
throwing Hiidebrond, the Kings emissary
The fight between them, one armed with a
sword. the other with a great iron cross,
is not the least striking feature Of the play.
But Perpffua is accused of witchcraft
and is TO be burned alive, unless champion
for her shall overthrow the Kings chal-
lenger. The transformed King himself
appears as the challenger, hidden under
helmet and visor, and accepts overthrow
knowing that he will have to die He takes
PerIeud's place OH the pyre and the flames
euSull ilAlli, Willie lHS RNl vanity CRIES OUT
that she loves him. Then the Archange
speaks, an the play is ended with the saving
Of the King
splendid series of pictures it Is, and
those who see the thunderstorm in the first
act will acknowledge that this indeed, Is
realism on the stage. OF course they will
think of "A Message From Mars" but the
old motive is here act to a new counterpoint,
and the mystery becomes a miracle, as
sacred as the wound in "Parsifal"
The last act is the reverse Of the medal
shown in IF l We're King" Indeed, it is
a play made Of ideas, but all of them are
handled with a real playwrghts craft.
Mr.. Sothern's acting is something that
will bear further study. He has done
nothing in which the range was wider,
except Hamlet, and nothing in which his
touch was more mellow, his technic more
sure, Miss LOTUS was admirable as Per-
petud.
She made a charming picture of innocence
and denoted the high soul of the ma iden
without caricature, John Findlay played
Diogenes, the court fool, with skill, and
Sydney Mather treated the Archdngei
with well preserved dignity.