The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1903-10-11

matte critics never agree about ANYTHING
IL may be predicted right here that The
Proud Prince is going To start an upneaVai
III the metropolis when it is presented there
XXX
The new Spanish play. Marta Of the
Lowlands." will be presented in New York
for the first time on Tuesday evening of
this week, with Corona Ricardo in the
title role. Those who have read the play in
manuscript form say that it will prove a re-
freshing novelty. 1t is "a romantic drama,
idyllic in its simplicity and truth to nature,
yet powerful In it's development and eli
makes. 1t deals with picturesque peas
antry IN Catalonia, revealing social order
somewhat archaic from the modern view
point, vet true of it's peculiar locality, which
has taken 10 note of progress elsewhere.
Its characters are Veritable types, and Ii
gains its main strength from the fact that
it deals with the elemental passions under
somewhat primitive conditions, and from
with rare skill along perfectly plausible
lines.
Henry Tyrrel has a very interesting
sketch of Mrs. Fiske and her career in this
months issue of the Theater Magazine. In
view of the first presentation in Indianapo-
lis of Ibsens Ghosts this week, Mrs.
Fiske's estimate of the great Norwegian
dramatist is of especial interest. Mr.. Tyrrel
says that the actress recognizes in Isben
| the creator OF a new form of drama and
| a relentless vivisector of the human soul.
| A philosophy deep Isben's. she in
| sists, stands for the universal human
| ture. not for a race or locality. 1t makes
no difference when where he is born
| whether in modern France or ancient
| Greece. or the Orient. America, or Nor
| way. He represents the genius of his age.
I No dramatist can escape his influence, no
actor or actress can afford to ignore him;
| every man and woman desires TO hear his
message, whether it bring comfort or
| despair. Yet she cannot help feeling that
lbsen's ideas, great as they are, have been
only half digested. dramatically. 1t is al
most as necessary to read them first as
novels as to them afterwards in the
theater plays. Their technical construction
is adequate, but not remarkable; it is their
grim. uncompromisng fatality that makes
them so strong and diSquieting.
Clyde Fitchs latest comedy, Her Own
Way" written for Maxine Elliott, has
scored a genuine success in New York.
Fitch seems to have written a consistent
piece at last. Each one of his previous
works has contained much that was clever,
but there has always been some character
istic defect. Her Own Way is said to be
very cleverly constructed throughout An
amusing character in il is Sam Coast who
runs through the four acts of the piece
reiterating at every point to Georgiana
Carley Miss ELLIOTT: II love you." re-
peating il in tenor baritone, bass, high and
low treble and in every key ever written on
the staff. Sam Coast is the man who
| financially ruins Georgiana and all her
family, in the mad. wild endeavor to make
her marry him. He doesn't succeed and in
the last act he comes in to bid Georgiana
| goodbye. She refuses him for the hun
dredth time and he is about TO leave
Mrs. Steven Carley Nellie Thorne) asks:
where are you going, Sam?'
First to Denver and then hell for me, L
guess is his reply.
Fay Davis, who comes to English's this
week in Lady Roses Daughter" is the
young American woman who found such
favor in London few seasons ago. Lon
doners appla uded her in the belief that she
was English-born, whereas she was down.
right down East Yankee girl, whose eyes
first the light in Maine, and who had
come to England in the beginning, some five
years previously as tourist. on pleasure
bent. to rest while after few seasons as
an occasional eiocutionist in the New Eng
land lyceumS. At a private gathering of
friends in the studio of a noted London
artist, Fay Davis was called upon to recite
some of the selections with which she had
been so modestly entertaining the quiet lit
tie towns III her native land. She had TO be
coaXed into this greater publicity, for the
fore her, and in the assemblage were two
or more theatrical magnates, who felt bored
at the thought of having to listen to
recitation by this shy. unpretentious
maiden. Fay Davis made such a hit with
the simple bits she did at that studio