The San Francisco call., 1903-01-26
0 'NE|L'S GENIUS
BURNS IN JUDITH
"The Man From Sweden"
Pleases Audience
at California.
Specialties at Orpheum All
Up to Usual High
Standard.

WELD the cyclopean blade of Holofernes
that caused most of the trouble-in the
process Its sin was that mortal one of
laughing in the wrong place, and the very
devil seemed to be in it. Things began
early, with the voice of an invisible
camel that persisted in adding i'm
promptu local color, and before the even
ing was out there was crop of giggles
that Frank Daniels would have given his
hat to carry away.
Nor was the audience entirely to blame,
though discourteous. When Holofernes,
VINO in Mr. Ratcliffes hands is empha-
tically of those heather, who so furiously
rage together, picks up his Sunday sword
"a dainty trihe, some yard and a half
long, the situation becomes comic opera
tic, and Jack the Giant Killer credible
in comparison. Neglect of preparation for
the appearance of the monstrous weapon
was responsible for the fiasco. 1t would
be perfectly easy for the slave, who
pictures Holofernes to her mistress TO in
sist on his personal savagery, with the
sword as its outward symbol. After that,
however, only when held in Nance
O'Neirs imperious grip-potent even in
such disastrous cfrcums tance-the au-
dience lost no chance to laugh, and
though possibly ashamed, came out grin
ming
Still, Judith" is a great play, a tre-
nlendous play; its greatness evident in
srite of vicious translation, bad acting
and untoward circumstance. Miss O'Neil
in. the title role is magnificent Wider in
scope than any part she has yet attempt
ed, the actress rises heroically to its
need. She is seen first as the Lily of
Judea, the widow of one Manasseh, and
famous for her piety, beauty and patriot
ism. Womanly in a degree not before
achieved by Miss ONeil is her conception
of this side Of the character, as she leads
her harassed neighbors of Bethulia to d
spring that the tyrant of Assyria has yet
apparently not discovered. The dawning
of her divine and dreadful purpose--to
tempt and Kill Holofernes-is painted
with admirable skill, the conflict of the
tender weakness of the woman with the
fanatic courage of the patriot being most
powerfully suggested. The second act
shows a continuance of the conflict, with
the additional emotion of distress at her
neighbors distrust of motives. And still
Miss ONeil is strikingly sufficient and
in her sweeping black robes a noble
picture Holofernes' monologue in the
next act Is long to live up to, and yet the
actress succeeds. But 1t is in the fourth
act, where with that comic opera sword,
now become credible, she smites the. ty-
rant, that Miss O'Neil sweeps things be-
fore her She brought out the reeking
head from the tent, put 1t in basket
like cabbage, wrung her dripping hands,
and all to a soundless tense audience
that seemed miles away from its rocking
laughter of a few moments before. They
raised the roof then, possibly giving 1T an
additional lift TO see il they could raise
the decapitated Radcliffe. But he re-
mained suitably dead.
However, there was no mistake as to
the audiences appreciation Of the fact
that Miss O'Neil has done tremendous
work in her Judith and perhaps her best.
Holofernes is unfortunately part as big
as that of Judith, and r. j. Ratcliffe is
not made TO It's measure. His work is
crudely melodramatfc in most part, al
though he occasionally lifts to the key.
But he Is heavily handicapped by the
lines, and as the part will be blue-pen-
ciled by tonight will have a better
chance. The others do their best toward
maintaining the atmosphere. The piece
is very handsomely mounted and there is
a very effective slave dance introduced
into the third scene I'm Holofernes' tent.
an excellent stage picture.
GUISARD.
In THE Tempest that the Columbia
Louis James as co-stars. the theater has
bill that is as novel as it is delightful
Few playgoers recall any local production
OF this lovely comedy. none any adequate
presentation. The almost inhibitive me-
chanical difficulties of its production in
these days. when so much perfection of
setting is demanded have contributed
largely to its neglect, but with the recent
advance in stage machinery present.
ment in which illusion is maintained has
been made possible. Perhaps the most
prosely poetic of the Shakespeare plays
1t is yet largely dependent upon scenic il
lusion, and with this assured and Mr..
Warde and Mr.. James at the head of
things there should be truly delightful
performance. No more elaborate and
gorgeous series of stage pictures it is
said, has ever been attempted by a trav-
cling organization. The scene of the
storm and shipwreck, with which the
play opens, presents one of those almost
marvellous transformations which are
rarely seen except on the stage of the
famous Drury Lane Theater in London
during the pantomime season Other
stage pictures which are less attrac-
tive are those of the enchanted island.
the coral cave and the yellow sands The
company, which is augmented by a Choir
us and ballet, includes number of prom
inent palyers, the more important being
Norman Hackett Wadsworth Harris
Thomas Coffin Cooke, Teresa Maxwell
and Edith Fasset. production of
Francesca di Rimini'' is also to be Of
fered during the James and Warde en-
gagement.
The show at the Orpheum presents
number of good features this week
Among them may be mentioned Filson
and Enrol who present clever comedy
sketch entitled "A Tip on the Derby !"
Collins and Hart made a big hit in their
travesty, 1.-TWO Strong Men" and farce
entitled "a Breach of Promise" showed
Morrisey and Rich to BE two clever ar
lists. Hill and Silvainy do some daring
bicycle acts and were warmly applauded
Richard ]. Jose, the famous contra
tenor, is still retained on the bill and was
warmly received.
After repeated encoTes he sang. bv re-
quest Dolly Gray" The Garrisons nre-
sent the same act last week, with the
addition Of the address of SDartacus TO
the gladiators. which was splendidIy rem
dered by Jules Garrison. The Scott broth
arc Ipfrodura several poyaIt;a~ a.