The Saint Paul globe., 1904-05-13
At St. Paul Theaters

The Harvester which Otis Skin
ner, one of Americas most accom-
pllshed actors, and his truly admirable
company presented at the Metropoli-
tan last night is a French pastoral
drama. Therein it differs vastly in
point of theme and dialogue from the
New England variety exploited by
such simple annals" as Shore Acres"
"The Old Homestead" and York State
Folks
1t is distinguished from our native
product, because it is the creation Of
Frenchman, Jean Richepin-who saw
life through Gallic spectacles. True,
the scene of action in the adaptation
for home consumption is transferred
from France to Canada, but that is not
a violent wrench. Sunny skies, Iuxu-
RANT foliage and rich harvests smile
ON the inhabitants of both countries.
The vital difference lies in the fact
that the handspring, the motive of
this French drama is founded on the
indiscretfon of the heroine, committed
before the overture is played Indis-
cretions of this sort can have no place
in our pastoral plays. They are rele-
gated to our society dramas.
Nevertheless, THE Harvester
speaks, and not without response from
an American audience. A discussion
of it's theme would invade the domain
of morals. 1t is sufficient to say that
its strongest act, the second, could not
have been written had the wife and
mother not nursed a guilty secret
whose revelation she dreaded more
than one could fear the plague.
The hero of the Frenchman's play is
a gypsy, man of all countries and
no country. An American playwright
seeking to enasculate the drama would
have made him tramp, which indeed
he is. His gospel is "the road" He
delights to plod
Onward, where the rude Corinthian boor
Against the houseless stranger shuts the
door"
The uncertainty Of coming into con-
tact with supper adds zest to his life.
He knows no boss. He is gloriously
free!
But in his peregrinations he loves a
lass now and then, and one of the
maidens whom he loved mot wisely
but too WelI' is the heroine Of this
play.
This all happens in the prologue.
Nineteen years elapse before the cur
tain rises on the second act. The
gypsy's sweetheart is married to the
thrifty farmer Francois. A son just
blossoming into manhood is their
pride and support, for the honest ia
ther is stricken by paralysis. He loves
the daughter of an avariciouS farmer
who knew that the boy was not Fran
co.'s son. To prevent the alliance he
| declares in the presence of the helpless
Francois and his distracted wife that
the young man has no name.
This scene is Enthusiastically the cl-
max Of the play. 1t Is fairly brutal in
its frankness-after the French fash
ion. 1t is noteworthy that Mr.. Skinner
himself does not appear in the entire
1savyc rNt
stars who are Jealous of every mo-
ment they have to spend in their dress
ing rooms.
The gypsy comes back, after nine
teen years, to find his son he knew
not of, a victim of alcoholic solace
He meets the mother, which is most
repugnant to our Anglo Saxon sensi-
bilities Somehow we feel they ought
| never to meet again until her husband
is dead. True, he does die just before
| the final curtain, but then the no
| madic Harvester" starts out ION the
road" once more, which is disappoint-
ing, though, it cannot be denied, en-
tireIy consistent on his part.
That same French frankness in dis
| cussing domestic contingencies, which
| the late James Herne employed
in Sag Harbor' and "Shore Acres
was noticeable especially in the last
act. The men in the audience laughed
| and the women couldn't help smiling
It was so spontaneous and human.
Otis SINNERS portrayal of the gypsy
glowed with vitality. An actor of his
experience, his physical endOwments
and histrionic requirements, has g
mere plaything in such a role. His
resonant voice, expressive eye ans
graceful, manly bearing could not but
| lend it magnetism. A lesser actor
| would make you despise the wander
ing, irresponsible scamp, whose penf-
tence, nineteen years delayed, was 3
mere accident.
Mr.. Skinner is to be congratulated
for surrounding himself with so ad-
mirabIe a company. Lizzie Hudson
Golfers impersOnation of Toinette
was not only finely conceived but most
convincingly executed. Her artistic
restraint was in evidence in the most
crucial situations, notably that at the
close of the strong second act.
A finished characterization of the
| grasping Master Pierre was contrib
uted by that seasoned player, George
Clarke. The total effacement of the
actors individuality distinguished this
embodiment of a greedy, avaricious old
curmudgeOn.
Unqualified praise is due ]. H. Col
vile for his well sustained and pictur-
esque delineation of Francois, the hon
GSl IctLIIICL, WIZ 1GLh0Co " OCiACNO z lis
Wifes denouncer.
Maud Durbin lent an air of sweet
simplicity to the character of Aline,
Walter Lewis was quite satisfying as
Tony, Ben L. Ringgold altogether ade-
quate as Thomas, the landlord, and
Marion Abbott, refreshingly spOntane-
Gus in the role of the sympathetic land
lady.
The scenery is all effective, that rep
resenting the harvest field, in the first
act, being especially picturesque.
#. G. H.
Resurrection" with Florence Stone
in the role of Maslova, will be the at
traction at the Metropolitan opera
house the first half Of next week, be-
ginning Sunday night. For the latter
half of the week Miss Stone and her
company will present David Belasco's
society drama, 'The Charity Ball"
There will be a special popular priced
matinee of ''Uncle Toms Cabin at the
Grand today at 2:30 p. m. The regular
Saturday matinee will be given tOmOr-
row. TonightMthe prize buck and wing
dancing contest will take place.
| Beginning next Sunday night at the
Grand an attraction new to this city, en-
titled Erik of Sweden" will open a
weeks engagement. Erik Of Sweden
will serve to introduce Ben Hendricks, a
Swedish dialect comedian.
Rose Hills London Folly company
will give ladies' matinee at the Star
today, and the quality Of the enter