The sun. [volume] (New York [N.Y.]) 1833-1916, 1903-05-03

NOuveau Theatre, faTB' Ntay ~
In the cast were Georget'o Leblanc. jean
Froment, Darmont, Lugn6. Poe. and others
The drama had an immediate effect and has
been played over the Continent. In Lon
don. which will stand any amount OF COARSE
ness, 20 II be fortnight, brutal and vulgar
a public performance was torhldGen 70
"Monna Wanna" Why? NO one knows.
Surely the famous tent scene has morning
In II that would offend any but Indecent
minded persons! Perhaps 1t Is the astound-
ing finale that proved too much for the
royal censor.
The action OF this powerful, sombre.
fascinating drama is laid at Pisa near the
close OF the fifteenth century. The CITY
Is beleaguared by the army of Pr'n1erdHe
sent from Florence. Within, the city has
made desperate but Intellectual resistance;
ammunition and food have given out
few hours and the city will BE- in the hands
OF the enemy, will be subject to sack. rap'ne.
slaughter Guido Colonnd Is Mt his wits
ends. In the frst net we find him in con-
sultation with his lieutenants. His father.
Marco CoIonna, scholar, virtuo.o ana
philosopher, has beer sent 10 the camp 81
Prin7eralle Thence he returns and in
scene OF power and suspense he informs
his son Of the terms set forth by the con-
queror. There is but ona way out OF the
trouble. With rage. horror, incredulity
Guido Colonnd hears that II his wife.
the high-bor beauty. Giordnnd (Monnn
Vanno) goes to the tent Of tho barbarian
captain. Prinzera!lc, the siege will be ter
minated
His Wanna? But how? Why' Who is
this demon out Of the ne hermost hell that
can formulate such vile condition? The
father calmly explains. Prinscrdlle is not
barbarian. but Hercules in strength
and beauty. He IL cultivated. He has
never seen Wanna. He desires the unknown.
He has the thirst for the infinite which
characterizes great dreamers, poets. gnn-
erals, madmen Of history. II Norma Wanna
is sent to his tent. n living sacrifice. in re-
turn he will give bread. meat. wine. gun
powder arms 10 the starving, vanqulshed
city. Guido laughs at such an insane
offer. Marco tells him that the city council
knows OF it--that-ycs. Wanna has heard
it. She ia at that moment coming to speak
to her husband He is stupeded to learn
that the council has spurned the offer.
But Wanna has to be counted with,
go forth to this Holophernes, n,addens her
husband beyond endurance. In an exciting
scene he accuses her of knowing Prince
rdle. of being unfaithfu to her mar
riage vows in thought He loads his father
with opprobnum. The curtain falls on
Wanna as abe leaves, Guido telling her that
she will never return to him the same.
Act H.: Tent OF Prinzeralte We have
admirable opportunities to study the
mans character. virile, upright, fearless.
poetic melancholy through his interviews
with his faithful secretary and Trirulzio,
the emissary of tho Florentine govern
ment, The siege has lasted too long.
Prin-erdHe has waSed too powerful
conspiracy has been formed against him.
He is to be deposed. assassinated, He
finds all this in his conversation with the
lying, base Trirul1io, The episode has an
antique quality Tripuisio attempts an
attack. but ia easily repulsed though he
receives a slight wound in the face. Tri-
ruizio warning Prin.eralie that by day
break he will be deposed. ruined
There ia nothing left then but the improb-
able acceptance OF the hard condition he
has imposed upon Guido Colon na and his
virtuous spouse
She approaches. She has been saluted
by tho sentries. PrinferdAe is amazed
She is enveloped in long clOak-beneath
1t she is Lady Godiva. The meeting is
one Of the most curious in dramatic litera-
trre. Gustave Flaubert had anticipated
it in "Salammbo" but the daughter Of
Hamicar was barbarian. after all, and
Matho's love for her IL brutal. In the opera
heaven save the mark!-the tent scene 10
an excuse for long love duo. emi-Meycr-
beer. semi Reyer 1t ia absolutely operate.
empty, meaningless But here it is another
story The souls Of these two are set
before US with clearness, force, solemnity.
almost appalling. The aptitude for dis
section of motive displayed by the poet in
his previous work is revealed here with
splendid results It is all natural-as
natural as such situation can be-and the
dismay of the noble woman is mitiRated
somewhat when she discovers Prih;erdlle
has known her. has always loved her. that
he means her no harm. By degrees size
EFFORTS the truth from him.
He Is the playmate OF her happies, hours;
for her he has moved mountains Fresh
from the insulting nsinuations OF her hus-
band, her head ame with her exalted
mission, she begins to see her life as it
really is. No, she does not preciptate
herself into his arms! The transition Is
infinitely more subtle than could be ac-
complished by any modern playwright.
It is atmospheric, The dialogue-never
has Mactcrlinck been more subtle-leads
us through the avenues Of this strangely
reunited couple. He is all passion and
she curiosity has given away
to remembrance. At the end he goes to
Pisa with her her captive; while radiant,
unframed. she hastes to her husband and
follow countrymen. The promised stores
have been sent; Prinserdlie deserts the
cause Of Florence-he is not Florentine,
and as his life is in danger his detection
may be pardoned. And he loves
Daring as Is this act, the next out generals
1t in surprises. Wanna marches through
the rejoicing city, lighted as for feast
She is conducted as conqueror to her
husband Then begins the struggle He
her. heaping upon her vile phrases
Yes. she has saved Pisa. but how9 Whero
is the honor of the Colonna? She implores,
explains, denies. affirms. But when Guido