New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1905-09-21
LONDON DRAMA.
D,xvz Lane, uith It's Parable
Comedies Nth Unknour1 Hero'S'es.

a1f
houses light up the first nighters look aOou'
80 every one whom they are accustomed to see
a. smiling and bowling. and there 10 no longer
any talk about an empty metropolis. Inc ne"
80 may not be exhilarating in literary theme
or dramatic treatment; but the playgoers are
M, as faded as they were in July and hence
tbe1, are more tolerant In their judgments and
moro easily pleased. The London first night
e always a social event-an informal reception
bsra the same people are in the stalls and
,ohries and where every one meets scores OF
scouaintances. It takes the place or a literary
salon and enables actors. artists, writers an"
publishers TO keep in touch with one announcer
during the slack periods of the year, when there
Is no whfrl Of gayety and no chatter about
rounds of engag ements and the glamour an"
glitter of smartness. Playgoers slip back INTO
,besr old places and enjoy a pleasuraoie sense
=. ,onpenial cornpanionship. Between the acts
they gather in knots ard talk seriously ABOUT
.be rrouise Of the new dramatic season ana 'il7
SURPRISES which may be in reserve-WheChei
there Will revival of the fortunes OF Fiiieio'
Jooes. Grundy and the old gang generally OF
whether there will be an unexpected play
wright TO thrill the town with genuine
novelty
Drurv Lane 1nelodrama- under the manage
mont of Mr.. Arthur Collins, has its own stand
srds and its direct appeal to q big audlehce'
and so sl1mptuous is the stage setting ana SO
lavish is the investment Of capital IN the aU-
.unnaI production that failure is hardly WITHIN
the range of probabilities. AS The Proolgal
Son. has been brought out in America and is
q close reproduction of the leading motives ana
incidents of the novel. 1T is unnecessary for me
n outline the plot or describe the play IN de-
+sr Abstractly it cannot be considered great
drama with naasterful grip imagination
nv emotions: but as a nelodrarna. designed Tor
IN immense playhouse. il marks an advance
,,uon all recent work OF the same class at Drury
lane For myself I would rather hear MT
Game talk about the para bic with soIloEouS
voice flashing eye and dramatic gesture thah 10
read his book To witness the proouctloh VI
his NAV. That is because he talks in better
literary form than he writes. and is more ORA
ros.,c IN the library than in the theatre Yet
,.,ren q r,oelodrana is to be staged nagnihcently
and TO be witnessed by thousands OF spectators
IN the course of the autumn at theatre ire
o7,enred bv the masses, it cannot be a dlsaoVan-
+are that there is something to think ABOUT
In this respect MI Gaines illustrative CON-
,oen+arv from Iceland and Monte Carlo on the
story of the prodigal son is superior to the con-
ventional theatrical melodrama at Drury Lane.
It lacks fumor-Nrs. John Wood. as Margret
Nielsen is the only performer who succeeds in
raising laugh-and the text is turgid and with
out literary charm: but there is a clear, con-
sistent story. and IT is told with higher pur-
pose than that of entertaining big crowds with
splendid pictures. gorgeous properties and
penny dreadful theatrfcals. If Drury Lane be
a good point for observation. the barometer IS
rising among the English playhouses.
a better class of actors moreover, is now en-
ployed in The ProdigaI Son than is ordinarily
seen at Drury Lane. Mr. George Alexander has
left his own theatre to play the part of Oscar
Stephenson. and he does it with fine variety and
genuine force. and at times with not a little
subtlety. Mr.. Frank Cooper is no less successful
in interpreting the robust but gloomy character
of Magnus Stephenson; and his clear, resonant
voice rings through the huge playhouse. so as to
be heard at the rerotest reach. Mrs John
Wood and Miss Mary Rorke do their work in a
broad. effective style, and Miss Nancy Price has
dropped her cockney accent and assumption of
pert commences, and is content with being
handsome and vivacious The best mpersona-
ton of character is the Thora of Miss Lily Hall
Cafne Possibly because the Icelandic blood
runs in the strain Of the Isle Of Man stock. but
more probably because she is in thorough sym
pathy with her brothers ideas. she distinctly
presents the affectionate. jealous and creduous
Thora: and in the final act repeats the realism
in a sincere, convincing portrayal Of the child.
While the Casino scene is grandiose and garish,
the stage setting has much simple beauty
richness and splendor- With five tableaus AMI
four changes of scene. the mounting pct
uresoue and impressive. While the emotional
effects of Victor Hugo's poetic melodramas are
not produced. the dignity of artistic intention
is not lacking and this has been missed in Mr..
Gaines previous dramatic work. and critics have
got out Of the way OF looking for anything Of
that sort at Drury Lane
The barometer has not fallen at other theatres
His Maiestys has been reopened with MT. Cars
effective rendering of "Oliver Twist" in which
two renarka bic illustrations of the art Of acting
ere shown one is Miss Constance Golfers
Nancy. undoubtedly the best seen since Dick
enss dav; and the other is Mr.. Trees Fagin. in
whom Cruikshank's grotesque fantasy is re-
auced to grim and sober realism by the actors
At the Adelphi there is revival OF old
fashioned wholesome comedy in 'Dr Wakes
Patient in which Mr. Mackay and Miss Braith-
waite play the leading parts A London doctor
Of low descent called suddenly into the coun-
try rescues an unknown lady who has been
thrown from horse and becomes deeply en-
srnoured while he is binding up her wounds The
subsequent quest for the patient. the discovery
thar she is an earls daughter and the over
coming Of differences Of rank supply material
for slender yet agreeable romantic play of
type too good to be lost. The Haymarket, under
the exclusive mana cement of Mr. Harrison, con
tinues 10 romp and frolic with the comic spirit.
The new play ION the Love Path" by Mr. Nc
Ielian is one OF those composite dramas which
critics dislike and audiences charmed with.
II opens with a farrago Of nonsense distinctly
farcicsl; it runs into comedy Of intrigue and
winds I'D with melodrama- BY turns il is every
thing except tragedy. Yet in every stage OF the
transition the pIaywright's touch is light. and
there is no lack of brightness and sparkle. The
current canon OF criticism that a play must be-
long to distinctive class is wantonly vo-