The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1903-12-30
Play Familiar to Washing
ton Audiences.
SCENES FROM DARK AGES
Drama Suggested by Sir Walter Scott's
Novel, Quentin Durward-Ar-
ranged by Dion Boucicault.

Mr.. Irving continued his engagement
at the National Theater by presenting
last night his impersonatiOn of the
crafty Louis XI of France. an embodi-
ment which has been one of the most
notable achievements of the stage for
a quarter of a century. He acted this
role last ni=ht as he has acted it in
Washington several times before-with
extraordinary skill, impressive author
ity. and convincing emphasis.
This performance, in consequence,
added confrmatory weight to the deep
impression made Monday night when
Mr.. Irving appeared in Waterloo" and
'The Bells" but those who were so
fortunate as to be in the audience must
ever regard this particular assumption
of the role as one of the most valuable
dramatic events Of their experience.
Origin of Drama.
All the essentials to a proper under
standing of this play have been pub
lished many times. Yet it should be re-
peated here, perhaps, that the drama is
In its original form a French play from
the pen of Casimier Delavigne; that II
was suggested by Sir Walter Scott's
splendid novel Quentin Durward." and
was partly based upon it, and that the
version used by Mr.. Irving, made in the
first place by Charles Reade. has been
adapted and arranged by Dion Bouci-
cault- This actor adopted Louis into his
repertoire twenty-five years ago and
has been playing the role at intervals
ever since.
The scenes are part Of the weaving of
that impressive, low-toned tapestry. the
Dark Ages-a time when cities terror
lied the open country near about; when
power rested either with cunning or the
sword and not with trade; when all who
dweit in the country lived in great cas-
ties or humble cottages; when religion
was largely bigOtry; when all Eu-
rope rested in ignorant calm before the
great storm which was TO free the mind
and end the darkness. Louis ruled
France through sixty of these long.
weary years-from 1923 until 1888. The
chief purpose of his reign was the con-
solidation of his kingdom by the subju-
cation of every important underling.
and to this end he waged war with knife
and poison and hypocrisy against all
the insurgent princes of the country. In
the end his object was attained, al
though neither by him nor through his
measures: but while he lived the march
of armies rustled the leaves Of every
forest in France and his battles with
his own kin cost France more manly
courage and healthful young lives than
any OF his successors could repay.
Louis Sinister Reign.
Translator. adapter. and actor have
worked together in harmony to infuse
into this play the spirit of Louis SIMS
ter reign. Another critic describes the
result precisely when he says THE po-
tent spell of the play is romantic at
mosphere. and the actors treatment of
1t. scenical no less than histrionic is
such as elicits all its wierd meaning and
rivets the romantic spell of its brooding
horror"
Omens of evil obtrude themselves into
every situation. The air hangs heavy
with the influence of the sinister per-
sonality hidden at the center of the web
and Mr. Irving's impersonation of the
king-to quote again another critic-"is
remarkable for many subtle traits Of
complex character and for rare facility
of execution. but it is chiefly excellent
as expressive of the banefuI power and
serpentine fascination OF incarnate
evil"
A Real King.
It has become somewhat the fashion
these days to compose historical
novels and romantic" plays wherein
kings are displayed as puppets in the
hands of their ministers, and courtiers
divide their time between awkward bows
and impossible EXPLANATIONS. Such are
works like Rupert OF Hentzau" and
Under the Red Robe and those two
compositions are Of a numerous com
pany. To those who find interest In
such writings this performance by Mr..
Irving must come with the full force OF
a dramatic revelation. Louis is at his
our own day, perhaps. by a whole
epoch Of civilization. but stilI a conceiv-
able, impressive. convincing human be-
ing A proof OF this is 10 be found I'm
the fact that hypocritical, sinister. cruel
and murderous as Louis is shown To he
Mr. Irving still obtains for him the
sympathy excited whenever in actual
life we are let deep into the workings of
another mind
The contamination OF his art. how
ever. as revealed by this enactment. is
10 be found rather I'm the intense power
Of several particular scenes than in the
creation OF a great stage character con
sistently maintained through four acts
Such are Louis fervent appeal 10 his
confessor for "A longer life; the uncon-
scious interruption OF his directions for
an assassination by superstitious re-
gard for the Angelus: the overwhelming
anger with which he receives the an
nouncement that his prey. Nemours.
has escaped; his abject fear Of death
disclosed almost without sound Of the
voice but with marvellous expression OF
the face-when confronted by Nemours
In the kingly bedchamber: and the i'm
pressive and astounding scene Of his
death, when even in the presence Of
the great eternity craft and will con-
hnue their dominion over his heart In
ihese scenes his acting is in every quail
.ty OF histrionic art superior to that of
any other actor OF our day. Few of his
competitors can achieve the full en-
bociment Of any similar character; none
OF them could intensity Il with such
power as he manifested IN these situa-
tions last night.
One Character Emphasized
Five OF Dir. Irving's company contrib
ute signally TO the power OF the play
James Hearn. as Coitier. the kings ply
sician: Mabel Hackney. as the Dau-
phin; Gerald Lawrence, as Nemours:
Nora Lancaster. as Marie. the beloved
o. Ncmours. and Laura Burt. as Mar
tha Each OF these. with dozen other
actors cast in minor roles made a part
OF the mosaic which in the end reveals
hardly any character bsff that % tba