The Saint Paul globe. (St. Paul, Minn.) 1896-1905, 1904-05-10
At ST. Paul Theaters

A remarkable drama, this achieve
ment of Justin Huntly Mccarthy,
winch was presented before an ex-
tremely appreciative audience at the
metropolitan last evening. 1t is graft
Tying to be able to record that the as
semblage was not as sparse as the
term "appreciatfve" too often denotes.
1t was large, though the theater was
not crowded.
1t is easy to believe that author and
actor labored jointly upon thiss play,
for the title role is admirably attuned
to the histrionic temperament of E. H.
Sothern. An actor of uncommon per-
sonal distinction, possessing handsome,
mobile features in form and moving
express and admirable" and gifted
with a sympathetic voice, Mr.. Sothern
Is bound to command admiring atten-
ton in any role he undertakes. 1t is
therefore all the more to his credit
that he succeeds in arousing enthusi-
asm throughout play in which, dur
ing the major part of the action, he
appears in the hideous guise of a mis-
shapen court fool.
1t is truly a miracle play, THE Proud
Prince" deriving it's inspiration from
the poetic legend of King Robert of
Sicily" immortalized by Longfellow.
King Robert, imperious, sacrflegious,
Unfortunately vain, supremacy selfish,
CTuOty
villain in SHORTS metamorphosed by
the divine power at which he SCOTS,
into the personality of his deformed
and groVeling court fool, Diogenes.
Still retaining the spirit of the king,
put the outward Semblance of the poor
fool, he is tainted, ridicuIed, spurned
and kicked by his courtiers, his female
favorite and her attendants.
Constant humiliation, worse than
1AI -
agony he beholds the only woman,
whom as king he had ever loved,
though he had insulted her, subjected
to fearful indignity. Then it was that
his conscience awakened within him,
and he longed for the power to save
her. When he saw her about to end
her life to escape dishonor, he kneIt,
conquered by her purity, and he did
save her.
1t may be naturally inferred that
such drama, founded though it be
on miracle, must attain great, yes,
fierce intensity. 1t does. From almost
the beginning Of the first to the close
of the last act, the action Is tense to
the highest degree. There is scarcely
moment of relief. No comedy touches
are permitted by way of contrast. The
atmosphere Is somber though it is il
lumlned once by poetic interchange
and the virgin Perpetua Their con-
cept1ons of the divine passion as ex-
pressed in the church scene are
beautiful and elevating, for the kings
spirit has been chastened and en-
ncbled.
If there is criticism to be passed
upon the play as a whole it is on the
score of it's sustained, almost agoniz-
ing intensity. Mr.. Sothern's guise as
iC co feif h fY1I1 70 h;
monster to the eye, while the cultural
speech, choked, as 1T were, with rage,
renders him anything but pleasing or
thrilling to the ear. But as the mans
soul begins to shine forth under the
purifying light of the Christian maiden,
the actor artistiealIy denoted the beau
tiful change, in expression, manner and
voice. Still one longs to see him re-
assume face and form of the king. This
he does not do so until the very last
moment, and then he never speaks
word. But he looks volumes
Of the technical skill employed by
Mr.. Sothern.-on is; compelled to speak
IN terms of highest praise. He was at
all times adequate; viriIe in the situa-
lions, calling for the exhibition of rage
or passion, tender in the scenes of re-
morse and self abnegat ton, eloquent in
the denotement of mute grief.
His change from the personality of
the king to that of the fool in the first
act was accomplished in a highly eff
fective fashion, accompanied by start
ing spectacular demonstrations. To
describe them would give but a feeble
notion of the sensation produced upon
the spectator.
The restoration of the king to his
proper self is likewise managed with
equally spectacular accomplishments
The other dominating spirit of the
ict NIL
daughter Of the kings executioner
This radiant embodiment of maiden
purity was ideally personified by Miss
Jennie Laural. Her form and cause
conjoined" would have persuaded even
King Agrippa to have become a Chris
t1an. Possessing rarely spirituelle fea-
lures, sweet voice, and a girlish fig
ure, united with a sympathetic tenn
permanent and pronounced intelligence,
Miss Laural thoroughly fulfilled the
universal conception of an ideal, lofty
unsullied and incorruptible woman.
The character naturally suggests that
of Mercia in "The Sign of the Cross
even as the play itself suggests that
drama, though in no wise being in
debted to it. In the delivery of the
poetic sentiments on love which pass
between Perpetua and the king, Miss
Laural spoke with tender, apprecia-
tive meditation of the voice that but
intensified their beauty. The dietion
of the play is refined and poetic to a
notable degree.
Another commemorate piece Of act
ing was contributed by Rowland Buck
son. in the role of Theron, the execu-
toner, who appears only in the first
and last acts. Orme Caldara was en-
tirely adequate as the clustering court
Ter, Hildebrand, whom King Robert
Stays in the church with a gigantic
cross. John Findlay played the real
court fool, Diogenes, effectively, though
he has but two scenes.
The ungrateful role of Lycabetta, the
kings favorite, was faithfully imper-
sonated by Aft Warner. The scene in
the kings palace, in which she and her
attendants figure in luxurious atti-
tudes, is a bit suggestive Of King Rob-
ert's manner of living, but the play
would seem to justify it. Certainly
no one can deny that the dramas in
fuence is elevating, if dramas may be
said to exert any moral effect.
The production from scenic view
point is elaborate and sumptuous, and
the effects are UNNECESSARILY enhanced
by harmonious and appropriate music.
F. G. II.
The attraction at the Metropolitan
opera house the latter half of this
week, beginning Thursday and incIud-