New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1903-10-03
LONDON DRAMA,
Wr. HaddOn ChdmberS's UnconTinc-
ing bat Entertaining PLAY.
I.onsnn- Senfemher .,

that the Incidents lack the realism OF actual life
and that the chief figures in the drama do not
conduct their affairs as creatures of flesh ana
blood would do. The Golden Silence" IS n fresh
variant OF the familiar stage problem Of two
women and man. young sculptor is in love
with a charming young girl, but is unwilling 10
propose TO her because she is rich. He is. how
ever. the secret lover OF rich and beautiful
countess. who has been deserted by her hus-
band: and his scruples are kept under restraint
except when she offers &c buy his statuary at
prices above tie trade level This is considered
unconvincing, since no member Of the Royal
Academy would be likely 10 decline to marry
a woman because she had money, nor 10 prefer
a grass widow equally rich and dependent upon
the contingencies Of an uncefended divorce suit'
nor object to receiving high prices for his statu-
AIRY. Each woman in turn is untruthful The
unmarried heiress acting under her sisters ad-
vice. makes n pretence Of losing her fortune;
but instead Of proposing TO her outright when
the supposed obstacle 10 his marriage is re-
moved. he offers 20 teach her the secret Of small
economies and 10 be a faithful brother. The
countess when she is in a position 10 secure a
divorce and 70 marry the sculptor. declares
that she does not love him. and thereby sacri-
fees herself 10 HIS happiness The first lie is
confessed by the bride an hour before the we'd
ding; but the second one is remanded to golden
silence. the countess returning to the studio
from a Continental journey and listening trag-
icaliy 70 the marriage bells. All these proceed
ings are described as unconvincing and unreal
by the dramatic critics. It is hardly credible
that either falsehood would have been told in
The circumstances. or that the sculptor would
have been misled I'm either instance: and GER
tainly IL IS not clear that the sculptor loves one
woman more than the other, or that he IS acting
from an Ineligible sense Of honor in either
case.
The critics may 20 to a theatre on the open
i-g night in order TO he convinced that the plot
IS coherent and the conduct Of the various char
arrHrs natural and plausible. Ordinary play
Eosrs are not drawn into the theatres from lit-
erary motives. but because they desire 10 be en-
.ertained. Whatever may be the results Of a
close analysis Of the plot and theme there is
much entertainment i'm this drama, and there Is /
also scope for excellent acting. It is not duh
play. The dialogue is bright and amusing;
there is much comic byplay; there s. stray
sense Of individuality in the subordinate as well
rs the principal characters; and there are in
teresting effects in the studio scenes as well as
beautiful setting FOR the gardens Of a country
house and most artistic costumes for the act
ieSses With all these varied sources Of enter
fainmeut. The Golden silence" is likely 10 at
tract payEoers in spite OF dubious reception
on the opening night and the hostile Judgment
q ceusovious critics. Mr.. Pinero without doubt
would have converted this play into something
intensely dramatic; but there would also have
been a cold, hard, disagreeable study Of the
contemplate character OF The sculptor: and the
comic relief would have been greatly reduced.
u not suppressed altogether. There are COM
pensatious in general entertainment and in half
-ones Of eouivocal and offensive characters for
what is known as the dramatic force Of a con-
Vincing play.
The work Of the players is admirable through
out and Mr.. Chambers gives each Of them
something worth doing. Mr. Bourchier while
oortentirg himself with the subordinate part Of
The scuptors friend. an American rainter gives
delightful study Of eccentric genius and genial
optimism. Instead of following the English
custom and making the American a loud coarse
and vulgar creature with offensive twang.
Nr Bourchier initiates the crisp seutentious
method Of transatlantic speech and Eliminates
the impersonation with sparkling humor. It is
not caricatUre Of American manners and i'm
TUlsiveness hut an agreeable and realistic char
acte- sketch; and thu comic byplay with the
arrizt'e model OIiss Nellie Bowman. whose
pronunciation and syntax he is seeking 10 re-
rzsr with ultimate view to matrimony after
rg-E1stiou period in a convent school is highly
es-oa5ng. Air. Frank Mills. the handsome
American actor, is equally flexible IN his i'm
TersonatOn Of the English sculptor. While he
falls 20 make any distinction in his manner
toward the two rivals for his affection he keeps
what is disag-eeable i'm the character away
from the light More decisive playing would be
fatal TO the character. with his fine presence.
his mellow voice and his flow Of spirits he sue
ceeds in imparting dignity and charm TO an
Pquivocal part. Mr. Kenneth Douglas as a
braialess young baronet. who offers himself
eight times 10 the charming heress dances a
cakeWalk with her. and finally informs his stern
mother that he is engaged TO a music hail artist
SIS i-res.stibly ludicrous: and Mr. Webb Oar
leigh Is equally successful in low comedy work
as % prizefghtiug valet in the sculptOrs studio.
The emotional part Of Lady Arlington is
PLAYED with sound judgment and intensity by
Miss Violet Nanbrugh In the earlier passages
there is brlILancy in her method OF interpreting
The social distinction and r-possession OF a
wen bred lady Of fashion. bat IN the dramatic
scene In which she dismisses her lover there is
genuine power in denotng The despair OF a
heart broken woman with infexible deter
rlration, but with faltering tones and averted
gaze She tells the lie which separates them and
when she is alone staggers across the boudoir
cropping her way blindly though her brain
were in "a whirl, and sinks in heIplessness TO the
floor, never relaxing the grip OF sheer VIII pow
er. IN the last act. when the play is menaced
With anuclimax in the wedding preparations.
she enlorces the significance Of her sacrifice
10y her solemn almouitions to the Whimsical
"fusts model and by the pathos 81 her Ioneli-
ness ana despair The Golden Silence" cannot
Justly be dismissed play without substance
when II offers scope for SO moving and 3r,,-as-
tiNe display of emotional acting. Miss Jessie
ha'eman' who is perhaps the most charming
anu Oiisiiee1ea lheenue on the English stage is
thoroughly delightful as Olivia The ,yorr,