The Washington times., 1904-03-13
Fact or Sentiment a.?
Does the Veteran Actor Lag
Superfluous on Our Staqe2
Criticism and YaTdStiCkS.


expect something we did not receive.
The play was not well done, and Miss
Eehan did not act superlatively we'll
We have a grievance against you. Mr..
Critic. and we want you to hear it,
Thus ran some dozen or more remon-
strances made to The Times after the
engagement at the National OF a month
ago OF Ada Rehan and Otis Skinner, In
classic repertoire. Those who com
planned were gentle-spoken and kind;
but they were also In sure earnest. and
felt themselves agErioved. IN their in
teliigent estimation Miss Rehan had
not deserved the praise given her by
the newspapers, and they wanted to
know why the critics had not told the
truth.
The voice OF wisdom prompts a gen
eral denial Of the charges. It could
easily be proven that Miss Rehan Gid
ret well. and that she deserved much
praise. and for a paragraph or so this
article must follow those lines. But
there is larger question than one Of
mere fact bound up in these complaints,
and It Is hoped these columns may this
week indicate the nature OF that greater
consideration.
Ada Rehan is one of the most ex-
perlenced actors on our stage. For
full generation she was supreme In the
roles OF Viola, Lady Teasle. and Kath-
crime. Through all that period she
acted consistently in plays which were
well written. well staged, and well
managed. She was for thirty years
star in the best company to be seen
cn orr stage. And she held that posi-
tor by right Of eminent affinity, con-
tinued application to her art, and noble
syouaanhood Her personal endowment
wac large She was graceful, good 70
lock upon, and melodious OF speech
Was Il any wonder. then, that before
her retirement every critic in America
paid her tribute?
A Matter of Eyesight.
We'll. the current season brought her
back again in three Of her best roles.
Every sign of her old skill vas renewed
her gestures, bearing, voice-no, not
her observation-disclosures, and personality
were all the same. The slightest move
rnent OF her body or change OF her ex-
preston carried the critic back to the
CID and happy days of Augustin Daily.
All about were other old theatergoers
who were affected like the critic. Their
memories, like his, were active and they,
like him, had much 10 remember con-
corning Ada Rehan which was pleasant.
SO memory cOlOred the eyeglasses and
u 4
have for un-glassed sight; the old men
Ia the audience were middle-aged, and
the middle-aged had shocks OF curly
brown and black hair instead Of bald
heads, and the middle-aged women IN
the audience wore bustles and nets for
their hair It was strange transforma-
ton which only certain eyes could see.
But half OF each audience came to
the theater strange 10 Miss Rehan. An67
what did they see? A woman well past
the crown Of Eer personal charm. tall.
not over graceful. full Of gestures both
OF arm and body. monotOnous Of speech
and altogether without magnetism. This
was the Ada Rehan OF 1904. II was dis
appointing but 1t was true.
So the newspapers were read in ever
growing amazement. What was the
matter with the critics2 Were they
afraid to tell the truth? Surely there
were half a dozen younger women who
surpassed this Ada Rehan.
One Paragraph IN The Times aroused
particular opposition:
ITO many who were present" 1t said
in referring to Miss Rehans Portia, ''an
this seemed new. Their pleasure IN Miss
Rehan's appearance was, consequently,
ever widening. At first they listened
with curiosity; then they applaUded with
enth usiasm: and last-most distinctive
tribute OF all-they laughed with her.
sighed with her. pleaded with her. and
rejoiced with her as though their Affairs,
like hers, were bound up In the fortunes
Of the merchant Antonio
The Rights Of Sentiment.
The explanation is one Of sentiment.
Tor one OF fact None OF US is so Sc
cure that he may not be dislodged from
the post he has earned and held. This
is 2 busy world, and methods change
81 fast that the apprentice OF today is
tcmorroW's veteran and the next days
Iensioner. So all men, especially those
who speak in public. look sympathetic-
ally on the labors Of their fellows
whenever they can There are more
thtrgs 20 be thought OF than the cold
standard OF the yardstick
The logician will raise his brows at
such an argument as this. We can't
have sentiment. ne viii say. interfering
with facts. But the reader and The
Times are not dealing in logic: they are
dealing In art; and art IS sentimental
before ever II becomes anything else.
Mr. Mansfield turned his attention re-
Gently to much this same subject. and
what he said then will bring this news
Psrer sermon to a fine close.
nave recently beefa ASKED ne Cd
served. ito write article on the
American audience. Now that is i'm
possible. There is no such thing as an
American audience. There Is an au-
dience in every American city, and
every audience differs from the other:
but II I were asked what trait IS most
apparent IN the attitude Of the Amer
lean public toward the American actor
should say that 1t was negative one
"a lack OF the personal affection which
Europeans show toward the artists who
entertain or instruct them.
"A loyal personal affection is given
In many Instances by the people Of
France TO the popular idols Of their
stage. They are loved by their audi
eaces. People are drawn TO their least
successful efforts by reason OF this per
Bonal affection.
in England there is the same mutual
cOrdiality- No veteran iags superfiuous
on the English stage. In their declining
years, when their art has declined with
them. the veterans still retain their hold