The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1903-11-06

Resurrection as enacted at English's
last night for the first time in indianapolis.
is a powerful play interpreted by a power
full actress and a fine supporting company
OF players. After passing through several
hands and undergoing a purging process by
translation and retranslation Count Leo
Tolsto's terrible story has been put on the
Englisn-speaking stage in a manner that
Is more faithful to the original work than
the bookworm would have thought pos
sible. Henri Bataille and Michael Morton
have succeeded where most adapters and
dramatists would have failed. Their under
taking was a tremendous task, but the re-
suit OF tieir joint labors has been a bril-
liant one. TIL drama is a series of scenes
from = great book-one OF the s~re<test of
modern times-ana the nearer the scSne ap-
proaches 4 faithfutaess to the book the
greater, the more powerful and the more
moving In its effect upon the audience. The
.heater last night held a large audience,
whose attention was rivcted upon the stage
through the whole performance, while the
applause was frequent and genuine. Faults
may be found with the dramatic architec-
turs OF the piece. but when one remembers
the many characters In TolsIois novel and
the great length OF the story that is crowd
ed with important incidents there can be
no denying that the dramatization has, in
the main. been unusually successful And
&c ~ NA01C VIZ Aoa IN A1aA IhC 0OOh
parts OF the play must have seemed some
what disconnected and in a measure I'M
real.
The old question of moral degradation on
the stage comes forward prominently in
this work. but there is no use entering into
a dissertation or debate upon this subject.
Count Tolstoi wrote his book for the pur-
pose of preaching a sermon to- the people
OF his country. This purpose, so far as its
political or sociological features are con-
cerned. Is lost upon American audiences
and the play comes into the class OF So
called problem dramas, TO which much OBJ
lection Is found by some people and which
other equally intellectual people regard as
essential to the progress OF dramatic art.
There can be no doubt that Resurrection
Is true In its delineation OF human motives
and emotions, while II Is picturesque In out
ward show. And more than this, IL sinks
down deeply into the heart and awakens the
neglected depths OF the conscience. Friv-
olous persons drawn TO a presentation of
this play because OF the fact that 1t ex-
ploits some things that are customarily I'M
mentioned on the stage. viii find no amuse-
ment, no entertainment in the whole course
OF the production. but, unless they are en-
tirely too caIlous to admit OF any spiritual
impression they Will go away from the
theater with the careless laughter stilled
on their lips and a new and holy emotion
knocking 81 the doors or their hearts. The
soul of the drama is the spirit OF seif-sac-
riice and remuneration and the effect could
not. I'm the end. be otherwise thau uplifting.
But what a grim and terrible earnestness
pcrvadeS II all. The. note OF dolefulness and
gloom is sounded at the close OF the pro-
logue and is ever present until the end.
As all readers know. the place Is Russia and
the time the present. The curtain rises on
a darkened stage From the deep shadow
comes the Russian Easter hymn. The hymn
dies away and then, as the darkness fades
with IL. the Interior OF a bed chamber In a
Russian country house Is seen. Ii Is here
that Prince Dimitri Neckhludon renews his
acquaintance. after an absence OF five years,
with his two aunss and the retainers OF their
1ousehold. Among the servants is katusha