The sun., 1904-12-13
MRS, FlSKE'S LEAH KLESCHNA,
4 Success or FIRST .MAGNITJ DE
POPULAR AND ARTISTIC.
A Tslstoi Theme. Worked Out Win simple
iet Consunmate Stagecrat--Georgc
AriISs. Charles Cartwright. W. II. Mack
and Other stars IN Constellation.

Inst niglt VIII DE Written IN Tcu lettcrb
In tho annals Of the Manhattan Theatre.
Leah Kleschna is the work Of C. NJ s.
Mcclellan. who has hitherto been known only
ua the author of clever Casino reviews and
musical pieces. notably The Belle OF New
York. But with the first words Of the
dialogue II was evident that he has a strong
and most intelligent feeling for pure dra-
matte writing. ... ........
As act after act went of--there were
five Of them he revealed. orc after another,
the gifts Of a playwright who has at once
intellectual and popular force. The delight
Of "a large and exceptionally cultivated
audience rose in steady crescendo.
Seldom, Of late hnve we been blessed
with bstter play, and seldom, il ever,
has a play been acted by more brilliant
constella tion of artists. II last nights
demonstrations of applause mean any
thing, they mean that Mrs Fiske has landed
n success of the frat magnitude, popular
and artistic -
The first thought was that this was the
work Of man who had studied, and not in
vain the technique of Pinero. But presently
there was revealed a power OF simple and
inevitable statement OF character which re-
called Ibsen.
As the theme of the play unfolded-it
was the regeneration of woman whom
fate had made a thief through the inter.
position Of human sympathy, as opposed
TO the rigors of the aw-one was reminded
of the spiritual insight and moral propa-
gunda of rolstoi
IL Is not the present purpose TO say that
the play is on par with all or any of these
hA
in Paris by NJ. Antoine have many or most
of its qualities. The point Is that here on
Broadway such a play can he produced,
acted and acclaimed.
Only one thing was lacking TO make the
occasion complete. Since Mr. Mcclellan
is an American, why does he go to Paris
and Austria for his themes? II this play
by native playwright had been a native
play, the cup Of ioy'would have run over
The dramatic struggle which forms the
main action is between a craftsman and q
statesman, whose hobby it Is to reform the
treatment Of criminals. tltschnd. real
thief that he is, is man Of courage.
In the. fire IN the Paris bazaar II was he
who distinguished himself for devoted cour-
age in saving women's lives. The law
giver also is man of mark, having cap
tasncd liieboat of passengers during the
sinking Of the Bourgogne. Melodramatic |
you will say. But not as written and acted |
1t the Manhattan,
man : house and to use his daughter Leah
10 do the business. BIT they were pas
sengers in the very boatlad SMrdinc carried
away from the sinking ship, and he has
become so to spoa, k, an idol to her
The scene oi the robbery brings them face
o face. 1t il here that the Tostoy theme
leveop- Most human is the conduct of
he scene. most dramatic, most spiritual.
Ledks regeneration begins, and with II a
'owerfu motive that is carried simply
md wittort rsak to the final curtain.
Many of the elements usually thought
,ecessary to popular success, the play
acked Ably as it is written, few Of the
ines brought laughter. and many OF these
gained much of their effect from the force
md precision with which they were de-
ivered.
The love story that unites the statesman
md Leah is quite simple and restrained.
deal and spiritual rather than romantic |
'et II will never do to underrate the power
# Intelligence and truth even In Broad
vay theatre.
The interest and suspense were breath
es1. The determination which Mr. and
irS. Fiske have declared of standing for !
he best there Is in the drama, has not
lways materalized in the productions at
he Manhattan. Some Of them have been
reaIy and futile enough. But for once
1
resent level can be maintained, New York
rill have a stock company of the first order.
Lean Is by no means star part. and no
ttempt WAS made to present it as such.
{ is easy to understand why the London
ctress, Lena Ashwell, for whom the play
: said to have been written has not yet
,roducod it. II must be added, however.
hat Mrs. Fiske has scarcely the physical
tributes essential to the complete i'm
'ersonation of the bewitching heroine. Yet
IL the greater her triumph .ast night-for
was triumph.
Her delivery had none OF its fatal trick
4 voluble inoistnctness II, as she says.
he is always at her worst in the stress
i first performance, there was no trace
4 the fact.
In the first act her dcnotement Of a mas
ent moral consciousness was simple, real.
inforced. In the scene of her attempted
obbery she was at first the habitual
hief downright and determined. 1t was
y acutely realized degrees that the power
i Svlrdine's sympathy wrought on her
he scene in which she renounces her father,
0 ret n 10 the honest peasants life of her
lear mother, was fun of instructive filial
fection. struggling against her awakened
pilit. The final scene, in which SEirdine
vas fun Of girlish grace and tender spirit
al feeling. II was rich, subtle and
nly realized performance in all its naivete
George Arliss played the part Of n de-
n0'at' aTlstocrut with all the consum-
nate technical skill and power of character
he has hitherto displayed
! bully and bounder in his converse with
he under world. ho fell easily into the ways
{ breeding when in converse with gentle
llk. Yet he never for moment stcpped
utside of the skin Of his part. II was n
callv mastery study. worthy TO rank
eside his Duke OF 81 Oiphcrts. his Eahinri
nd his Ndrouis OF Sfeun.
The part Of the craftsman was intristed
q Charles Cartwright, who was imported
rom London for the occasion. The per-
was rough, virile. magnetic,
onvincing, easily dominating the scene. |
Y. p Mack, in the small part OF a member
{ the gang, hopelessly in love with Leah
vas absolute in his portrayal of humble
oyalty, sympathy and understanding,
nd made ono OF the several striking inn
ressions IF the evening.
John Mason lent his well tried bowers
o the Interpretation OF .Syirdire, investing
he character with power Of sentiment
hat never lapsed, as it easily might have
one, into sentimentality. even preaching
ood round sermons with dramatic and
force that carried them.
Emily Stevens had a small pa rt as a some-
that jealous and suspicious ing6nne, and
cored in II no loss by her very considerable,
ersonal charms than by the saiency and
recision with which she limned its few
utlines. Tho manner in which she said
ah!' oonvulsed the audience
The scenery ard stage management were
'ell nigh perfect. in the slightest detail as