New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1905-03-24
A RUSSIAN PLAY.
Herald Square Theatre.

The st. Petersburg Dramatic Company exiles
from their own land were greeted at the Herald
Square Theatre yesterday afternoon by half
houseful OF their countrymen and few American
students of the drama. All the American actors in
town were up at the Lew Fields Theatre seeing 1T
Happened in Nordland." The Russian company
presented their play 1.-The Chosen People," which
vas forbidden the Russian stage. They dis
closed themselves able group of realistic
actors and the American players who failed to
them lost rare opportunity, for neither the
familiar language they spoke the ddactic COLO
quialism of the first two acts of the play could
prevent innumerable niceties of their from be-
ing disclosed nor wholly dim the emotional appeal
of the drama. Even the Americans in the house
were thrilled and stirred to pity by the last act
The Russians, who composed the bulk of the audi
ence, wept and then rose and shouted when the
curtain fell.
The chosen people is by Eugene Tchirikoff
who is not a Jew. though the play deals entirely
with Jewish life and ideals and is said by Russian
Jews in the audience yesterday to deal with them
not only truthfully, but with sympathy and
earnestness. The three acts all take place in the
house of Frenkel. old Jewish clock member. a
passionate Zionist, whose two children, a and
daughter, belong to the generation which
acknowledges only two natives lone which works
much and eats little. and which works little
and eats very much" They have been expelled
from the university for socialism. and between
them and the old is little sympathy.
The daughter, Liza, has given her heart to
q NAAAolld1 lONSI, InOuSn ner Iatner, OF
course. favors the suit OF Nachmann the
Zionist leader. who is dominating figure in the
play. There is. for two acts. much talk too much
talk for any audience but which shares in the
racial questions discussed. But through the talk
the internal breaking up of this household goes on
remorselessy. and from without come the murmurs
of persecution and that break this vii
lage at last. When the curtain rises on the third
act the house is barrcaded. and shouts and rifle
fire are heard in the streets. Nachmann give Liza
ME in fha IIarC hr{st;
lover rushes in and tries drag her away, but the
broken figure of her father keeps her with her
people. and she refuses to go. The Russian mob
smashes down the doors, fels the old to the
ground and the lover, the aged aunt dies
of fright the girl is pursued into another (for
she is beautiful woman. She kills herself. The
mob wrecks the pictures and furniture and goes
out. Then the old man rises his knees and lifts
his hands to heaven. the curtain sinks
All the people in this play, who are not an
nounced exceptional actors at home displayed
a power of character portrayal reminding one OF
the best work at the Irving Place Theatre. They
created an atmosphere and out OF realistic detail
built UP illusion that held though not one syl-
liable except the word ''revolvcr) understood
OF their language. They showed intelligence in en-
semble command over emotional rhetoric. and
fuency of expression in voice and gesture. The
finest performance given by Nine. Nasimoff
Liza. Her byplay, even, emotionaly express
sive. once to the point of winning tears. S. Kram-
sko. also manservant, who for entire act
had little do but sing folksong in a soft barry
tone. haunting theme in the minor, remarka-
bly, skilful In his byplay 1t fussy super
huous. meaningless and it constantly added to the
atmosphere of the whole picture. Safonoff. Toll
stoy, Tschaikowsky have shown Americans Russian
literature, Russian music and Russian interpreta-
ton of music 1t remained for this company to
prove that Russian Interpretation of the drama is
equally advanced, though probably not better than
second best plays with third rate scenery and ac-
cessories are sent on this mission.
But why is the performance not given In Grand
St. in the evening? There is where it would be
understood