Evening star. [volume] (Washington, D.C.) 1854-1972, 1903-12-01

with the theme of the drama. and the I'M
preston created 1es Hetable.
the play Mrs Mnssb isss and
ton made by w al Winter Of the orig
inal German by auiA 4eyse. It treats In
| dramatic form Of that historical period in
the reign Of Tibs hus Caesar when Christ
brotherhood and Chr tianity which were
to revolutionize religions thought. The an
Client city of JerqsaleM forms the scene of
sst0n is Hence ons Of ate pay is i as0fi
partakes essentially OF the religious at
mosphere of the period by which 1t is
dominated. Within this setting and en-
terest and sympathy % made through the
story OF Mary Magdalene, whose repent
ance and spiritual awakening Is first por-
trayed by the author with tenderly SYM
with truly sympathetic reverence and ap-
probation. In addition to this story Of
Mary Is that of Judas, whose motives in
betraying the Nazarene are depicted In a
light altogether different from the COM
monty accepted tradition.
In the first act the audience sees Mary
before spiritual Transformation inspiring
Flavius, the nephew of Plate, to love for
her. In this scene, too, Is brought out
the devotion of Judas for her The au-
d,ence again beholds the Magdalen at the
house OF Flavius, where she has come to
listen to the teachings of the Nazarene in
fallen woman listening to the words of
their Master, and with threats Of VIC
lence follow her IL 10 the house of Flavius,
where he becomes her protector from the
wrath of the religionists. This is made the
occasion for the injunction, HE that is
without sin among you, let him cast the
first stone" which is uttered impressiveiy
by Simon at the climax of the dramatic
incident. At this point, too, is witnessed
the conversion of Mary.
In the picture of Judas the dramatist has
portrayed him as ambitious, proud and
fired with zeal for the freedom of his race
from Roman rule He follows the Master
with these motives in view. When Christ S
real mission Is made plain to him he re-
volts, and this disappointment, coupled
with his disappoint in losing the love
of Mary, who will not listen to him in her
penitent state, is made to appear as the
motive for his betrayal of the Nazarene.
Then follows the crucifxion, the anguish
OF Mary, who is informed of the great
tragedy by Flavius.
Most impressive and dramatic Is the clos
ing scene. which represents a dark ravine
near Jerusalem in the midst of a raging
storm. Thither Judas has fed and learns
OF his execration from Haran. He wanders
away in despair to accomplish his own
death. In this gulch occurs the final meet
ing between Fiavius and Mary, the latter
filled with grief and remorse for the death
of her Master and with no thought but Of
Him. AS the curtain slowly descends the
nght from the moon breaks gently through
the clouds and she utters ringing cry Of
hope and devotion.
Mrs. F1ske's Interpretation Is altogether
on spiritual lines, and at no point does she
allow 1t to descend to even insinuation Of
the gross or sensual. Her portrayal is
full OF poetic sentiment and powerful emo
tlon that is elevating in its inspiration. 1t
Is, in short, what was to be expected from
an artist of her previous fine achievements
Mr. Vaughn Chaser, as Flavius, gives a
most creditable performance. and the DOW
er1uily dramatic character of Judas is ade-
quately portrayed by Mr.. Charles Kent.
Emily Stevens, as Miriam, made a favor
aple impression. and the others of the cast
VINO are especially deserving Of mention
were M. j. Jordan. as Caiaphas; Henry J..
Carvill, as Haran, and William B. Mack as
lothian. w.
Inc production is accurately mounted
from historical standpoint, and the set
siilss are magnificent In the last act the
scenes and effects are notably realistic and
impressive.