The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1904-01-03
Interesting Offerings for the Week
in the indianapolis lighthouses
Ada Rehan, Otis Skinner, Charles Hawtry and "Florodora" at Englsh's
European Novelties at the Crand~Two Attractions at the
Park and Musical Farce a the Empire

turned. the rush of the whole thing, how
tiresome II must grow 10 those people, and
how they must long for the atmosphere of
their own particular circle, where they are
at home. 1t is not so much that there is
no atmosphere OF art where they go, as
that their relations to the artistic circle,
and the social circle as we'll. are so entirely
different when they are abroad"
Sardou has abandoned himself utterly
to the invention of new and violent sensa-
lions, according to a Paris letter in the
New York Evening Post. The scenes of the
latest melodrama, La Sorciere,' which he
has concocted for Sarah Bernhard, are
laid in Toledo in the Middle Ages. Zoroya,
daughter of a Moorish physician, is
enamored of Don Enrique, a Spanish cap
tain, who is betrothed to Juana, daughter
of the governor of the city. Juana. who is
a somnambulist, seeks a cure at the hands
of Zoroya, who is esteemed a sorceress,
and reveals the identity of her lover.
Zoroya determines to prevent the marriage,
and, obtaining an entrance TO the COVER
nors palace, puts Juana to sleep. Don
Enrique, instead of his bride, meets Zoroya.
who overwhelms him with reproaches, but
Is about to forgive him when an officer of
the lnquisition arrives to arrest her for
witchcraft. Don Enrique resists, and both
are carried before the tribunal. Zoroya, to
save Don Enrique, confesses that she be-
witched him, and that she alone is guilty,
whereupon she is condemned to the stake.
Don Enrique arrives at the place of ex-
ecution with a pardon. but the mob is
furious at the thought of the escape of its
victim. Then ZOroya conveys poison TO the
captain by a kiss and the two die together,
amid the bowling of the mob. Bernhard
is said to avail herself of all the emotional
opportunities with her accustomed adroit-
ness and power. but il is a pity that the
closing years of her career should be thus
employed.
Is it not curious, writes Rupert Hughes in
the Theater Magazine for January, that
one of the most brilliant triumphs of Shak-
speare's genius should be quite unknown to
the great majority of his retainers? Is il
not incredible that it should be omitted from
about all the editions of his works? Alleged
ly complete" sets of Shakspeare's plays
admit such dubious and dolorous intepti-
tudes as 'Pericles' and Titus Andronicus''
and bar out a drama, certainly no less au-
thentically his than these two, and withal
so splendid that 1t ranks among the very
highest of his achievements in the minds Of
those of us who think il his. We can for
give these editors for emitting such an ar
rant piece of cheap murder drama as Ar
den of Feversham." with which the masters
hand may have puttered a little, but there is
no Indulgence broad enough TO excuse the
slight they put upon both Shakespeare and
his readers by banning THE Two Noble
kinsmen." This is no place to go into a
historical argument on the merits of the
case further than to say that, against Haz-
lit, Hallam, knight, Ulrici, Won Fresen,
Furnwall and Rolfe, who were not con-
WINGED that Shakespeare had a hand in the
work, one can place the names of Lamb,