The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1903-11-18


There was a wsll-proportioned and oc-
casionally enthusiastic assemblage In En-
glish's last night on the occasion OF the
reappearance in this city Of Wilson Bar
rett's melodrama, THE Sign of the Cross
that rather strange mixture OF the SEN
sational, the religious and the carnal-and
judging by the general spirit Of It's re-
ception, the probability Is that the sue
sess OF this long-popular piece is to be pro-
longed indefinitely. There Is not much
mystery about the success of THE Sign
OF the Cross The play contains a little
of everything that appeals to the general
public. There are strong emotions, pic
turesque heroism, human frailty, abun-
dant spectacle and exciting climaxes. all
presented as a great moral lesson, and
with a historical background for guaranty
OF solemn purpose
It is true that The Sign of the Cross
IS a drama that holds the attention OF the
audience from the beginning to end, and
the interest in the development of its story
is never allowed to languish at any stage.
but there are those who look askance at
the claim made by the management OF the
play that the production is put forth as
powerful sermon. presented with a con-
vincing force rare in our pulpits." Why
not be frank about it? 1.-The Sign of the
Cross is. in reality. very good meIo-
drama, and nothing more than that. and
this effort to catch the eye or those people
who seldom visit a theater is somewhat
cheapening to the production. III II teaches
a good moral lesson-and undoubtedly its
story Is one that will do good rather than
otherwise-all the better, but this thing OF
placing the cross on every sheet of adver-
tisirs matter and playing up the relig-
ious feature as the sideShowman exhibits
his curiosites on banners outside his tent
IL rather wearisome to the initiated.
The play has been seen In indianapolis
20 often that most theater-goers, as well as
many people who ordinarily do not attend
theatrical performances, are quite familiar
with Its story, and there Is no occasion for
forturing of the little Christian lad. Ste
phanus, the miraculous rescue or the Chris
tan maiden, Merc.a, by the Intervention or
heaven: the dauntless courage that enabled
the lowly Christians to meet unfiinchingly
the Wild beasts In Nero's arena, and the
winning OF the Roman project, Marcus SUI
perous. to the Christian faith by the chaste
young cir. whom he learns to love-all OF
these things go to make up a melodrama
OF considerable strength.
II cannot be said that the present COM
pany engaged In interpreting the play is as
good as Indianapolis has been accustomed
10 seeing. but II must be remembered that
the production is being offered at lower
admission prices than those usually asked.
Though weak In places, the company Is. in
it's entirety, satisfying George Flood, in
the role of Marcus Superbus. so long played
by Charles Dalton. gives a spirited per-
Torrance OF the elegant but heroic Roman
he Is a man Of fine stage presence and he
sustains the character adequately from the
outset. Rose Elizabeth Tapley. in the part
of Mercia, the Christian maiden. is pleas
ing to the eye. but only too often her act
ing reminds one OF the work OF a pupil in
an Evolutionary school. so persistent is she
in mounting her lines. IL is fault that
should be at once corrected before Ii be-
comes a habit that will mar her entire pro-
fessional career. Dudley Farnsworth as
Nero. Elwyn Eaton as Tigellinus, the coun-
selor: William II. Ferris as Licinius George
Dudley as Favius and Wade l.. Morton as
Titus give conventional portrayals OF their
respective roles. while the leading feminine
parts. aside from that OF Mercia. are played
acceptabiy by Bessie Toner, May Kintzing
and Ina Cloughton.
The stage settings are precisely the same
as those seen here In the production last
season and the stage management through
out Is admirable. There will be a matinee
this afternoon at low prices and a final per-
fOrrnauce this evening