Evening star. [volume] (Washington, D.C.) 1854-1972, 1904-10-04
T q E T HEAT Err.
Columbia Mkeater.

The transplantinE of smother great Eu-
ropean success to American soil was ac-
complished last night at the Columbia
Theater, where Sardouis play. THE Sor-
ceress," was performed before an en-
thusiastic audience, with Mrs. Patrick
Campbell in the title role. The success Of
the player. like that of the scientist, ap-
pears to be measured Bby the extent to
which he can project his intelligence into
the past His ambitions turn toward the
OLD venetian andn Roman republics, as
tnose or the geofogist1 turn toward the
palaeozo1c period. Mrs. Campbell has as
surediy conquerediher modern world and
- JustIneo IN pressing on toward those
more ancient timesswhen men and women
cnerlsned strange poetic beliefs and some
times died for love. In point of time the
step from the social environment in
which The Second Mrs Tanuueray' and
other characters SO feelingly portraved
py MRS. Campbell have fiourished to the
Gays when the influence of that arch
.seno and torturer Torquemada was ram
pant Is but short one. And yet in point
Of pictorial contrast It is enormous Mrs
SdmpoeHs nrst appearance was an i'm
pfesslve and beautiful incident. She con-
veyed In pose and in speech the dignity of
the plays central character without sac
rlficfng the languorous mysticism which
perVadeS the scene. The stage equip
mentS are SO realistic and finely wroI1 ght
IN oetali as to be a harmonious portion of
the performance instead of a mere back
ground to suggest environment II ia
seldom that scenery plays so important a
part without being over-conspicuous But
splendld as the setting of the first act is.
IL Is only as a frame for the study of
Zorayah, who comes upon the scene like
an apparitlon In the moonlight II is one
or the most effective entrances that the
urama mas yet devised: And Mr.. Frohman's
production in its entirety reflects artistic
discretion combined with extraordinary lib
erality. --'
The play itself does not reveal anv new
pndSe Oh Sardous s wonderful craftsmanship
In plots. 1t is like an echo of his other pro-
ducts; the work Of master dramatist who
mas TO turn to his own past achievements in
quest of a model. The similarity of the
Story 10 that OF La Tosca is marked, but
ingenuity has not failed in the task of sup
plying new cl1maxes and complications
Sardou's genius is almost feline IN its play
with the destinies of his characters They
clutches of an adverse destiny only to find
that when escape seems most sure de-
structiOn Is certain.
The role assumed by Mrs. Campbell af-
1ords nne opportunities and she did not
neglect them. 1t Is a constant emotional
crescendo and she rose to heights of gen.
ulne tragic power in the closing scenes Her
portrayal was not marred by evidences of
efrort even In the most tempestuous moments
Of the play. Mr.. Guy Standing fell into the
requirements of the principal male role with
his accustomed facility. His work is wholly
lacking in the aggressive quality which US
ually distinguishes the successful leading
man. Yet he fits appropriately and effec-
lively, though passively, into the spirit of
each scene. Mr.. Fuller Melish presented a
good character study in "Cleofas," the ply
sician of the inquisition. Alice Butler,
whose competency has already been demon
strated In this city, was weirdly effective
In the part of crazy peasant woman and
Frederic Perry displayed notable power in
nOrtraVaI a vxh tc
the inquisition.
The spectator at a Sardou play does not
expect soothing experience. The pictures
he draws of the inquistion are melancholy
reminders of the brutal bigotry of a by
gone day and his heroine is a woman of
alien faith. 1t revives scenes and prejudices
that many devout people will assuredly feel
might better have been left buried in for
getfuiness. Yet considered purely as
theatric creation, the production is a most
notable one.