New-York tribune., 1905-07-18
4 MODERN FRANKENSTEIN.
Nr. Philipss adaptation of a Classic
Hyth and Mrs. SkeIIey's Story.
London, July s.

London, July s.
vr stephen Phillips has the courage required
for reworkng classic themes. and is not de-
terred by the knowledge that other artists have
,aken them up before him. He has made
s-arnas in blank verse of the woes Of Paolo and
Francesca the wanderings of Ulysses and the
passionate despair OF Herod. and is TO be cred
ited with having high ideals OF literary work.
even = his art fails at times or is at least un-
even and uncertain in execution. His last
undertaking. ~Aylmer's Secret" is below the
level Of the three works which have preceded it,
ycr there are hne passages in IL. and il does not
lack either beauty power Under common
place title and with a modern interior Of gar
ret iu soho, he revives the classic legend OF the
artihcer mparting life 20 his handicraft. In
Greek mythology the theme has its most beauti-
fui embodiment in Pygmalon's statue Of ivory.
which by Venus's Intervention transformed
into woman because the sculptor had already
learned 10 love it; and it remains. Schiller
has interpreted il in a lovely poem, the finest
IDEAL Of the love OF nature IN the heart of youth.
The legend in its primitive and purest form had
already been put 10 effective in the poetic
drama "Pygmalion and Gslatea," in which
May Anderson years ago found one Of her most
charming representations. Mr.. Phillips was forced
20 take a less pleasing variant, the creation Of
a man by the resources OF alchemy and natural
philosophy. which was the subject Of ''Franken-
stein" the weird, morbid romance written in
Switzerland BY Mary wollstonecraft Goodwin,
sheuey's second wife. The story is again varied
ard the names are changed. but the essential
.dea IS reproduced. This is the discovery Of the
secret Of the generation Of life by an arduous
Investigator. and the creation Of a monster.
more managea able and less mischievous than
Franksnstein, but not less unnatural nor less
eager 10 be mated.
IN The new adaptation Of the old story of
stive energy reacting upon itself, Aylmer, after
a career OF experimenting with the sources OF
life. has found an elixir with which he hopes
n endow his mechanical model with vitality.
His daughter. Miranda. alarmed by his secret
occupation in the gloomy garret entreats him
10 abandon his pursuits and 70 sit in the light
virh her and he promises TO do so after a final
experiment that night The elixir produces the
desired effect. the creatures eyes and lips move
and fn moment he Is crouching his knees
before his creator and worshipping him v
soc. and Aylnler abashed by his own irreverent
audacty rushes from the garrer locking the
door behind him. Two fine effects are produced
the creature instructive feeling OF awe in the
presence of its maker and the appalling horror
of The expe-imenter in having arrogantly
sumed the functions Of the Creator In the next
scene the creature. after an interval Of several
of London. returns To the garret and finds
Miranda who pities him when she hears that
he Is summed by every passerby and is athirst
Tor human sympathy Ayimer surprises them
when the unnatural creature is holding his
daughters hand. and. beside himself with anger
strives TO separate them He orders the mon
ster 70 60 back into the lonely streets among the
unfeeng crowds and Miranda stands beside
the outcast and says she viii accompany him.
Avlmer allows the creature TO remain. but is
prepared 70 XIII him when ne awazes from sleep.
The dagger is drawn. and then flung away
Aylmer cannot destroy the greatest work of his
hands unworthy Of continued existence as he
nnds IT, he grants The barren privilege Of hope
less lie 20 be dragged out somehow. somewhere;
but The crea ture cannot live without love and
mercy and falls breathless on the floor, Miranda
coming in al the last moment TO press his hand
and 10 close tenderly the dying eyes. So ends
weird and uncanny play, highly suggestive in
SIS analOges. lacking dehniteness in dteTerentia-
rlon between a creature with life ana an unnat-
uraI man without a soul and intensely moving
in iIs situations.
The little single act play has been well enacted
an the Adelphi Theatre by the Benson company.
1lr Benson, moderating his decamatory style.
IS most effective in his impersonation Of AyImer.
and plays The part with fne variety and genu-
ire power Miss Mabel Moore. with beauty of
tace and a voice OF sympathetic quality. is a
gracious Miranda; and pity for the loveIess out
casr seems natural enough. for the creature is
an exceptionally handsome and prepossessing
young actor. This is Mr. Henry Ainley, who,
after being ideal Paolo in Mr.. Phillips 5
Dante tragedy. is now the creature without a
soul. and throws himself with fervor into d
highly artistic impersonation. His deep. musical
voice is well fitted for recting blank verse. and
in Ian,
over the loveless life cut OF from human sym
pathy. The subtlety with which this agina-
1--WE part OF a forl0rn and melancholy, rather
ther deprayed and british Frankensten IS
played is worthy OF high commentator.
'Ay-mer's Secret is, however, a venturesome
Invasion Of an unknown world Of psychical and
spiritual mysteries II needs 10 be a short
play and 10 be followed by rollicking comedy
for The relief Of the audience The Comedy Of
Errors is the afterpiece, and IL is enacted with
energy gayety and skill by the Benson com
PAM Ny Weir's comic work being most ad-
HiraoIe in form and spirit y F.