The Providence news. (Providence [R.I.]) 1891-1906, 1903-11-03

stars and company are actors Of unus-
ual distinction. Were it not so. their per-
formanco would perhaps result only In
the play that failed.
Not that the play. as piece OF dramat-
ic workmanship is not admirable In It's
way. only its way is SO unusual that with
less talent brought TO It's Interpretation an
audience might easily be misled INTO the
notion that "Tho Light that Failed Is,
for instance. one Of those literary things
that only An endowed theatre could afford
10 put To tho test Of acting.
For when you come 60 look IL over,
there il hardly situation In H. surely
not a climax, scarcely moment OF dra-
matte intensity. OF the sort that betrays
the stage mechanism. tho obvious strain
ing for effect, the building around' n
"strong' bit Of business The modern
book PLAYS as rule really lack virility
FOR the reason that their situations are
made TO read and not to act. In The
Light that Failed the smoothness OF the
method. ss well as tho ac-
comnlishment of Intensity through
seeming nsturalness, remind YOU
OF the old Belasco and DeMille way. OF a
decade or more ago when plays like ''rhe
Wife" and the Charity Bali were the
Standards OF composition. Those were
clever and admirable models, even though
their themes started the modern problem
play on its dreadful course.
There is no problem to The Light that
Failed" EXCEPT a manifestation that rs
sweet and appealing of that everlasting
problem, love ''the only thing that makes
birth and death endurable." And there is
not an epigram In f. not single
"smart" or laugh provoking observation
except such as might naturally spring
from the lips Of an ordinary human being,
of the stage.
T4 af nf
Light that Failed" for an audience TO get
used 70 the change. Preconceived notions
established by much that we are used e.
OF what constitutes a good and entertain
ing play. have 10 be sidetracked before
you enter into the full enjoyment Of this
Light that Failed" And the curious
thing about IL IT, that by the time YOU
are borne into the atmosphere OF the play
you are no longer merely a spectator OF a
fetching puppet show but you are actual
" I'm the scene, q witness or something
real and human that Is going on about
you. part OF ~ all, with It's laughs and
It's tears SO that you have TO collect
yourself together to pull yourself out o'
II when YOU pay it your tribute OF ap-
| pla ausc.
The handclappng e. not the way the
tribute n paid The Light that Failed -
not until YOU have walked up. The audi.
ence AT the Providence Opera House. last
evening was about the quietest body OF
| people that ever witnessed a stage produc-
ton That was It's unconscious tribute
II was a tribute no less remarkable than
n was sincere. There were long spells
when that audience was breathless with
attention. leaning forward 20 catch every
| word and movement-for getting every
thing. save the unfolding Of the story
that was telling on the stage-mutely ex-
pressing thereby It's admiration end de
light. And there were long moments
when men brushed something wet from
their coat collars. because they were
rather ashamed 90 be discovered wpins
n from their eyes. More bravely or more
eonsiderate Of their dainty gowns. women
boldly produced their handkerchlefs.
Under such circumstances. an audience
could be pardoned if II seemed 10 require
several tense seconds for it 10 recover
| Re balance sufficiently 10 accord tho con-
vsntionaI applause.
The transition on the part Of the su-