The Minneapolis journal. [volume] (Minneapolis, Minn.) 1888-1939, 1904-10-11
AT THE THEATERS
MetropoIItan-"The Pit"

Metropolltar-"The Pit"
Compelled by the play itself to seek the
book, there is justification for the read
ing playgoer who, in weighing 1.-THE Pit"
balances the Curtis Jadwin of the one
with the Wilton Lackaye of the other.
That the process satisfies is proof of Mr.
Lackaye's achievement, for he is Curtis
Observation-Disclosures, masterful, all-con-
| Quering. He seems the very man con-
ceived and actualized by Frank Norris,
In the second book Of his uncompleted
Epic Of the Wheat" This is, indeed, the
man the reader has seen in imagination
moving thru the romance and the tragedy
OF the great corner in wheat, only he has
stepped out Of the limbo of fancy into
the real flesh -and-blood figure Of the
ISootlights.
So much for the actors achievement.
But what of the playwright's part?' Dis
appointment is the lot of him who bal
ances play against book Perhaps most
bookplays disappoint-it all depends on
the dramaturgy. Let the adapter take
| the principal timbers of his bookplay-
| the characters Of the story-from the
| original, and let him display the necessary
architectural ability to construct upon
them the lesser essentials that, give finish
to- the structure, and a play results, THAT
may be considered independently of@its
source. But if he uses the minor parts,
the scenes and incidents, for the ground
work Of his structure, the play becomes
SO dependent on the book that it's source
is ever e-eminent. This ''Pit'' of Chan
ming Pollocks Is of the latter sort-a
thing of bits and parts, poorly articulated
and without value or continuity apart
from the book. Its justification lies Who'll
ly in the Board of Trade scene; the rest
is such patchwork that it is doubtful
whether one who had not read the book
could get from the play a coherent idea
| the story 9S NJ
yelling, struggling men on the stage in
the fourth act is convincingGrjust so far
Is 1.-THE PITT success as a play It does
not breathe the spirit Of the book II
completely misses the opportunity for q
compelling" drama. Frank Norris inter-
wove In his story two principal themes
the married-life tragedy of the Jadwins,
and the tragedy Of the wheat corner. The
subord1nation Of the wife's happiness tc
success in the pit; the temptation of wo-
man to seek solace where Love, not
Wheat, is King; and the final recognition
by the husband of Loves supremacy over
Mammton-these are the successive phases
of the tale. But Pollock, In his slavery tt
Incident, his eagerness to seize upon 4
tragic line here, a comic bit there, has
missed grip on either theme. Not even
William A. Brady's lavish mastering Of
setting and effect can furnish atmosphere
that will redeem the playwright's failure
Yet one must be grateful to Mr.. Lack.
aye for his strength in rising above these
weaknesses to the achievement of a Jad-
win that is true to both book and play
And If one cannot recognize in Jane Oakel
the Laura Jadwin Of the book, one must
, applaud her consistent portrayal of an,
other Laura Jadwin, who in voice ant
: temperament Is a very real figure in the
melodrama. Save for these two, the Ores
; sler of A. H. Stuart and the Gretrys O.
William SHazelt1ne, the rest are declaim
Ing caricatures. Especially IS Rober
T Warwick's Corthell neither the villain o
] melodrama nor the antithesis of Jadwil
which the book presents. The mounting
of the play is entirely satisfying--that .
the third act being even beautiful. vrssge.
The success and life Of a play depend
primarily on the impression left on tn,
, memory, not on the enjoyment Of tn
moment If the heart throbs and tn
comedy and the frenzied wheat deals O
the Brady production are worth remem
bering, then one may spend an evenin,
with 1.-THE PITT to advantage. >. Z
Harry s. Wakefield.