New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1903-09-15

sion. Mrs. Iris. Mrs Tanqusray and company
would readily recover. with little smstory coaso-
iation or uttle fashionable favor. In brief. the
erring sister usually depicted the stage. is
a humbug. AID therefore she il the proper object
q satire and contempt; and IL the Magdalen had
been introduced into a drama merely for the pur-
pose OF exploiting her vicious life, bewaiing her
socially outlawed condition seeking TO inspire
mawkish sympathy with her putative woes. she
might well be dismissed only Of the
wanton. sophsticsl frauds that have so long
numbered the theatre snG grievously besmirched
the public taste. This play reveals different pur-
pose. since. for the first time. it shows the fallen
woman,-incarnate II the most famous representa-
tive Of her clsss-neither the courtesan Turing
her lover the social pariah contending for her
forfeited rank but the repentant sinner. rescued
regenerated. and redeemed who no longer Graves
the forgiveness or heeds the tumultuous nothing
ness OF man. but. meekly enduring the appointed
and inevitable punishment for sin. reposes all her
hope the promise OF divine pardon. and looks TO
life that is forward and far from here 1t might
be urged that the consideration OF themes SO
momentous and awful these.-the operation OF
cyine law for the punishment OF sin and the move
ment OF divine love for the publication Of the SOUL
ought not TO be attempted under such conditions
prevail the theatre: for. IN general the thea
ire is frivolous place and the theatrical audience
desutory and shallow: moreover, certain SUBJECTS
OF vital interest to mankind. subjects for silent
thought and not for public discussion; but every
thoughtful observer Of this play viii perceive tHat
Il treats a great and solemn matter in a spirit OF
rerfect reverence. and that every impairment OF IL
is vital with the sovereign Christian motives OF
charity. purity. and hope.
Mrs Fisle. who has not hitherto acted any Part
that contains so much experience. feeling splritu-
ality and mournful beauty are combined in THIS
image Of the Nacdalen. rises IN this embodiment
10 an impressive altitude OF power-the power not
only 10 comprehend 4 terrible conflict in a great
soul and 10 form q lefty ideal Of moral grandeur
triumphant over human passion, but the power 10
If q rf 1-rdf hat
in a surnptuols image Of beautiful womanhood
and 10 express them with intense sympathy, al
fluent vigor and pathetic grace An exquisite seilSl
hlfty rervaes the performance and vitalizes every
fibre CT IL. The language IS blank verse and
therefore the actress has Been constrained TO
modify her customary Evolutionary method. 10 some
Giscsrding the use OF rapid lcisiVe' conVGl-
tive speech and OF the rising injection ano employ
ing an amper. richer. sad more deliberate. sono-
roue and musical mode Of utterance. Her delivery
OF the part is marked by sincerity ard simplicity
ard her portrayal Of Il by complete ldentihcaJon
and this is sustained through terribly trying or
deal q emotional change Transition If the guiding
iuctplc OF The part and no artistic deNterty could
exceed the skin with which these several changes
are MADE and shown IN Mrs. Flske's psrforrnsnee
During the period autecedcut 10 Mary IS nrst sent
If fhe Nazsrene.--a period wherein she is diHlly
conscious aC something o11irous snd fateful. near
81 hand-she remains self-cOnta;ned, dominant
imperial and yet bitter. moody, and eubly a1rre-
hensivc and the observer sees a woman or IN
rectitude ssd in her gloomy splondor. bat neither
shameless nor hopeless because conscious Of degra
dstior haunted with a secret dread ana already
half redeemed. Mrs. Fishes dencternent Of this
Largard and shuddoring loneliness Of the soul be-
meath p calm exterior that covers without con-
cealiuc the torture and tbs misery. makes the
frr and sure basis II her whole strong. tender
ana touching representation The image thus dis
PLAYED by her that % woman who has passed
beyond either the Weakness OF t1e tolace of human
love ard who's srul stands bare before the doom
Of affection which is the inevitable penalty Of sin
and which ~ subterfuge Of mortality can evade
escsf-e. Tae discipline Of sorrow has not. indeed
been corrnIctcc. tllc Nery. selfwillod. passionate
reckless spirit aames out yet once more, in a de-
FAINT almost delirious speech "a speech not in the
German original, uttered by Mrs. Fiske with i'm
pctuous vehenence and magnificent scorn-asainst
the High Priest Caiaphas. vixen that tnsidious
p-eiate has vainly tried 20 make Mary the vicious
instrument or MS vitlzedness: hut, when once she
has stood in the Sacred Presence. the conquest OF
perversity is finished. and thereafter the only
struggle that Mary knows is The struggle 10 escape
external evil.puttng away the terrible temp
tation Of vrongdoins in order that right NAV fol-
iow.-and thus cling. with the tenacity Of oes-
peration. the Immortal hope that her soul
has grasped- The grenter opportunities for the
actress arrive IN the climacteric scenes; the hral
interview with Judas. the Fr1ef--tricken. forlern
parting with Rachel.-ln which Mrs. Ffske
pressed the cold apathy and affecting calm ~ &C.
sp2ir.-and tire rer-lse az Flavius. which is the
consummation OF the tragedy: and in these scenes
Mrs. FlsSe only displayed extra ordinary depth
Of emotion hut an essential and authoritative
tragic force Her acting IN the subsequent scene of
delirium and anguish. when the storm clouds drift
AWAY and the cold star gleams IN bleak sky
over the hill of CALVARY. while Il adds
element Of power 10 the irnpersonotion. deepens
the pathos Of Il and makes II round. complete, and
fneI type OF moral ana spiritual victory over
sin snd sorrow and all the troubles Of fraii NOR
tality and an evEnescent world.