The Saint Paul globe. (St. Paul, Minn.) 1896-1905, 1904-07-11
At st. Paul Tfleaters

Hall Gaines much discussed, highly
praised, severely criticised drama,
The Christian" received a creditable
presentation at the hands of Miss Has
well and the George Fawcett COM
pany at the Grand last night.
Since the original production was
given In this city some three or four
seasons ago, with it's special scenic
embellishments and many. trained SUI
pernumeraries, this performance of the
drama is easily the best witnessed in
the Twin Cities.
A great many people can never for
give Hall Game for John Storm, tho
preacher, whose zeal for the church
and jealous love for a woman, make
him behave like a precious cad, and a
supremacy selfish man. Rev. Mr..
Storms conduct under great stress is
anything but noble and manly, and in
consequence it is difficult to applaud
and sympathize with Glory Quayle's
sacrifice for him. But remembering that
Woman's love is the apotheosis of I'M
selhShness, in contrast with mans, and
that even preachers are but men, per-
maps the author has not deserved all
the abuse heaped upon him. 1t is
quite conceivable that the clergy might
! not relish his picture of a young man
conseefated to the church
But 1T cannot be denied that this
oAaAiior VI rather IficlOQranld, is Skill
fully constructed with view to effee-
tive situations and stirring cli1naxes
It's dialogue is pithy, in spots, and its
satire, directed at the preacher whose
parish encourages no poor folks, is
Dltihg. That the play appeals success
fully to the masses it has demon
strated amply during seasons past
through that unanswerable medium,
the DoX Office. Further comment upon
the play at this late day would be
SuperfluouS.
Miss Percy Haswelps Glory Quayle
appealed to you at all times. 1t was
! spontaneous, sincere, sympathetic. The
gayety and merriment of the music
hall singer were easily and naturally
assumed without sacrificing the dig
nifty of the woman. Miss Haswell was
notably effective in that scene in which
Glory resents the familiarity of Hora-
ITO Drake. This situation which is the
climax Of the second act is altogether
the most artistic and probable in the
play.
70 Charles Wyngate was allotted the
ungrateful role of John Storm, the
churchman who is so madly jealous of
Glory that he goes to her apartments
TO murder her, his laudable motive be-
ing to save her Souli Mr.. Wyngate's
voice and figure suited the role, but
his impersonation lacked the convinc-
Ing Quallty IN the earlier scenes. Self
consciousness was in evidence indicated
by Mr.. Wyngate's disposition to direct
his gazeaover the footIights instead of
at the person to whom Father Storm is
| speaking. This was particularly no.
ticeable in the interview with Glory in
| the music hall when Mr.. Wyngate kept
his face turned toward the audience
In consequence the actors appeal is
direct to the people in front, rather
than to the person addressed, and the
| Illusion suffers. This is a fault easily
remedied.
De Witt G. Jennings contributed an
admirably conceived impersonation of
Horatio Drake, the only sensible, gen
erous, unselfish man who comes into
Glory Quayle's life. Drake has the
sympathy of everybody, and one cannot
help feeling it pity that Glory didn't
fall in love with and marry him in
stead of the radical and fanatical John
Storm, for whom she gives up a bril-
| liant stage career, to reclaim sinners
from the Slums of London. But then
that's the woman of-it
Alfred Hudson in the role of Arch
deacon Wealthy, Frank Craven as the
blase scoundrel, Lord Robert IRE;
George Schraeder as Father Lamplugh
and Alfred Hudson Jr as Brother Paul
; acquitted themselves creditably.
F G. H