New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1904-05-03
THE DRAMA.
Hiss MarIO5ce as Mary Tudor at the
EmDire Theatre.


II is a pleasure to welcome Miss Julia MarIowe.
who appeared last night at the Empire Theatre.
impersOnating the Princess Mary Tudor,-in the
play entitled When Knighthood Was in Flower
with which character she has for some time been
very successfully and pleasantly associated This
piece and this performance have been reviewed in
this place and their recurrence at this time seems
only 10 require repetition OF former Judgment
The play, made by Mr. Paul kester, on the basis
or Mr.. Majors novel. is a practical synopsis of
story that contains romantic incidents and
gests situations Of suspense and of effective climax.
The period is about that Of SCOTS poem of Mar
miOn." The heroine is the Princess Mary, sister
OF King Henry VIII OF England. The hero is one
Of that mouarch's favorites. Charles Brandon.
Nlscount Of Lisle who. after the battle OF Flodden
d5l@ was made Duke of Suffolk and VINO pri-
vstely espoused the Princess. in Paris. after the
death of her husband, Louis XII Of France. There
is slight basis of fact for the play. but. pract
cally (Which is a merit rather than a defect. its
story is fabric Of absolute fiction.
The chronicles mention that Suffolk and Mary
Tudor had been lovers: that both Of them were
markable for personal beauty: that King Henry
VIII had. at time. favored a project Of their
marriage: that the marriage OF the Princess 70 the
French King OF mercenary policy, prompt
ed oy the subtle counsel of the Duke or Tongue
Vile; that the French King prematurely old
and inhrm. so that he died (aged fftythree years.
within less than three months after his wedding;
that Suffolk accomplished courter and SOL
der. and that King Henry to his sisters secret
marriage. easily mollifed-in part by the
persuasions OF Cardinal Wosey.-and made 10
ceive Suffolk and his bride. and to establish them
happily in English home The private marriage
OF Charles Brandon and Mary Tudor occurred in
l55. Mary died in 1884. the age OF thirty
years; Brandon in 1915 Not much is known about
these persons; but around their shadOwy figures
the novelist has woven his web or fiction. and
from that has been deduced-in crude. artificial
and careless manner. series OF theatrical scenes
The novel,-as in all such cases.-is preferable TO
the play, and for an obvious reason: the reader
sees with the eyes of the mind the spectator with
those OF the body. In the case. II the
lions be excited fancy repairs every discrepancy
and removes every blemish; in the other. unless
perfect dramatic art be made hallow every act
and word with an irresistible glamour every i'm
probability IL conspicuous. every extravaganza is
emphatic. and every weakness is visible
The play. while void of felicitous art. neverthe-
less affords theatrical opportunities and these
Miss Marlowe has adroitly used Her embodiment
OF Mary Tudor crystallizes into one engaging per-
sonality the attributes OF authority, impetuosity
intrepidty, force OF will gieeful caprice alternat-
ing with tenderness, and ardent passion tempered
with both sweetness and mrth. She presents a
woman who loves, and who. amid enemies and
perils. has the courage OF her love. II seems
probable that this mpersonation shows her per-
sOnal ideal OF womanhood and is but little. if at
all, removed from revelation OF her actual self:
It certainly is an interesting and winning image
OF feminine variety. integrity. fidelity. romantic
ardor and ingenious charm. and this is the more
remarkable since il is revealed in association with
preposterous Incidents, impossible persons, a trav
esty Of manners. and a lingual fux of folly and
profanity. There many characters in the play
including King Henry, Queen Catharine. Anne
Boleyn. Jane Seymour, and Wolsey. that the
eristocracy Is well represented.-and there is
scarcely that Is not cartcatUre. The de-
OF princes and the customs % courts
usually surprising the stage. in this instance
they prodgious and startling.
In the first act.-which displays a posture OF per
and their relations TO each other, and
hibits the dilemma IN which the lovers to be
perpexed. and from which. ultimately and sur
prisngIy. they are TO be liberated -Miss MaroWe
has % coquetry. wherein the Princess
entces her lover by repelling him and IN this her
acting IL delicious In the second act she arouses
enthusiasm. bY tenpestuous exhibition Of the
Tudor temper In the third act the Princess gets
into male attire. and runs away with Brandon and
they are captured. AT Bristol, by the King %
England in person. In the fourth act the Princess
Is assaulted by the King OF France. Just the
old has expired, and is rescued by Brandon.
Miss Marlowe's rtch beauty and the exquisite
sweetness Of her voice never more effective
than they IN her embodiment OF Mary Tudor;
and the triumph OF fine actress. trammeled by an
Irrational play. never more couspicuously IL
Illustrated. This jealous. conscientious actress is
almost alone upon our stage now. as the repre-
sentative not only OF romantic drama but OF deep.
earnest passionate devotion TO the highest ideal
Of her ART " ".