Evening star. [volume] (Washington, D.C.) 1854-1972, 1903-12-29
He THE AT E B.
New National Theater.

To view performance by Henry irving
in the midst of dramatic season so I'M
certain as the present one is like climbing
upon familiar and secure ground after a
long and hazardous voyage Of discovery.
There is a sense of safety and comfort in
observing a player SO sure of his technique
and SO conscientious in his pursuit Of artis-
tic and Intellectual ideals. There is no room
for suspicion that he is juggling with
chance. in the hope of scoring one Of the
undeserved and unexplained successes
which. enviable as they seem, tend tc de-
stroy the player as artist and to reduce
him to the level Of the gamester. An Irving
production stands forth with the clearness
and precision of mathematical demonstra-
ton. 1t may sometimes impress highly
sentimental natures as lacking in sym
pathy, but 1t is convincing.
There Is but little in such a character as
Matthias in The Bells to invite sentiment
tai admiration. In order to follow 1t with
the sympathy which melodrama demands
for its hero the auditor would be obliged to
become In sense a participant in the
crime. Matthias is In reality cold-blooded.
of affection for his offspring, more or less
common to all animal creation, but warping
this a1ection to his own purposes Of decep-
tlon. 1t Is wholly unlovable creation; yet
1t possesses deep psychological value as q
study OF the conscience which makes cow
ARDS. 1t is fine subject for the intellec-
tual analysis of an actor like Irving. His
performance last night at the New National
Theater showed slight, If any, departure
from the well-grounded and finely wrought
Interpretation which he offered many years
ago In this country, while the play was
sun novelty to the stage. 1t is one of the
rev examples of theatric mysticism which
appeal to the rational as well as to the
imaginative sense. There is constantly
th1cken1ng atmosphere of occultism that be-
comes weirdly fascinating as the play pro-
md To-. l, =
irving art to note that, despite the enor-
nous tension of the scenes, at no moment
does this fascination falter. The most ma
terlalistic Intelligence is interested, for the
lamentations and dream-terror which con-
stitute the plays motive are common expe-
r1enceS In human affairs
An tnis is familiar comment Indeed 1t
would be difficult to say much about Henry
irving and The Bells" that is not familiar,
Tor both the actor and the play have been
submitted to decades of the critical scru-
tiny which only art in it's superior forms
can command. That Henry Irving has
mannerisms is well known. That his per-
sonaltty and artistic sense rise SO hj9h an
10 make an allusion to them seem almost
petty Is equally well known. He is one Of
the established quantities in public esteem.
and inspires admiration, not only by his
art, but by his ardent ambition to add to
the intellectual wealth Of the drama: an
ambition all the more splendid because Of
his contemptuous superiority to the tempta-
lions 10 rest on his laurels and present only
sure and accepted successes, The sunporf
Ing company proved highly efficient one.
and the play was received with enthusiastic
interest.
The Bells" was preceded by a one-act
pay entitled Waterloo" interesting only
because Of the facilities it offers the star to
present picture Of veteran soldier. AS
character study 1t affords fine opportuni-
ties for the display of the masterful skill in
uetali, which combines with brilliant initia-
Will stand out for generations to come as a
landmark in dramatic progress.