The Saint Paul globe., 1905-01-16
At St. Paul Theaters

ana the sculptor by their wOrkS-fur-
n1sh the reason for the being of the
orama, Pretty Peggy" presented at
the Metropolitan last night.
Englands shining literary lights
have paid tribute to Garrick's genius
and exhausted Superlatives on the
Woffingtons matchless charms. The
players who would embody them today
so as to create an illusion, so as to
awaken an admiration of the "coun-
terfeIt presentment" slightly akin to
tnat of the originals, must needs pos
sess unusual distinction of person, and
needless to say exceptional histrionic
talent In other words, the task of
mpersonat1ng a great player convinc-
1ngty should be reserved for a great
player or at least for consummate
artist, capable of achieving telling
strokes at critical moments. Nothing
but personal distinction and capacity
TO portray emotion with intense colors
will suffice if David Garrick and Peg
Wofflngton are to be reproduced and
enact their romance before our ewes in
this practical age.
MISS Jane Corcoran, an intelligent
actress, whose Irish brogue is artIess
enough TO seem genuine, plays Mis-
tress Wellington. You like her, but
OF the actress who fairly hypnotized all
London. She is lacking in voice, and
physique, and certainly does not man
lIeSIs the temperament of a compelling,
magnetic woman, who might typify
Rosallnd, Viola or Juliet. Good taste
MISS Corcoran invariably displays. Her
comedy scenes are marked by faciIe
readiness and spontaneity, but in the
situations calling for the display of
the deepest emotions she is Inadequate
that is for London's great actress.
The climax of the play is the parting
or Peg and Garrick. Miss Corcoran
denoted the sense of outraged woman
hood Enthusiastically, but not with the
overwhelming sweep of passion that
the scene demands. Her voice was un-
equal to the great moment. 1t was
TOO big for her. Instead of a mighty
outpurst of intense jealousy, it was
dangerously near an angry rant. And
this 1nadequacy seemed due to made
quacy of voice, facial expression, per-
sonality.
In the earlier scenes, Miss Corcoran
was happier. Something in her man
ner, her smile, her spontaneity carries
a suggestion of Maude Adams.
Andrew Robson was a disappoint-
ment in the role of David Garrick. He
did not appear to do himself Justice.
He possesses distinction of bearing
and is altogether a we'll equipped
actor, but he certainly did not unduly
exert himself last night, but imper-
sonated the role of the great actor in
q. perfunctory fashion. Its opportuni-
lles are not what they might be, but
Mr.: Robson did not enthusiastically
embrace those presented.
A pleasing lmpersonation of Polly
Wofhngton was contributed by Kath-
crime Fisher, who behaved in artless
fashion, and Ada Boshell's Irish brogue
ana strenuous, stentorian style made
MRS. Wellington a distinct character.
Edna Bert lent personal charm to the
role OF the envious George Anne Bel
lamy, and Jennie Dunbar was con-
ylnclngly jealous and vindictive as
Eva Sorel, David Garricks earlier
sweetheart
Compliment cannot be justifiably be-
slowed upon the masculine contingent
Anthony Andree in the character of
the Earl of Cholmondeley was breezy
and altogether Hibernian. None of the
other male characters seemed real.
Ihe last act furnishes a surprise
Wnen, during scene supposed to be
enacted on the stage of Covent Gar
den, members of the company rush
down the aisles of the Metropolitan
ana interrupt the performance David
Garrick and Eva Sorel occupy a
proscenium box, and Peg Wellington
has severe trial. She defeats the
scheme to spoil her performance, her
enemies are routed, and then she starts
to deliver Rosalind's epilogue to aAs Is
You Like It" She speaks the lines
falteringly, and as she swoons, David
Garr1ck leaps from the box and
catches her in his arms.
AS Peg heaved a piteous sigh, some
low-browed creature in the gallery,
not possessing the faintest glimmering
of what he had seen, groaned in echo
Everybody looked disgusted, and the
curtain fell. -F. G. H.
The Gilmore Sisters at the Grand
'Mrs. Delaney of Newport" amused
a large audience at the Grand last
night. The piece is musical melange
In two acts The comedy is broad and
every joke Is obvious enough to escape
being overlooked by the most obtuse
persons. Several pretty musical num-
bers are interspersed throughout the
performance. The most notable Of
these are Eyes Of Irish Blue" Buster
Browns Baby Sisters" 'Tll Not Give
Up My Mother" and .Katy Did" An
excellent quartette is the vocal main
so numerically evident on the stage
as In the programme. The suspicion
Of padding" however, is only sug-
gested in the printed list. Anatomic-
ally speaking, the suspicion would be
an apparent slander. The feminine
contingent of the chorus wears vari-
ETY. OF becoming costumes and as the
Uncle Sam Girls evoked much ap-
plause and many encores. The latter
number is composed of a medley of
patriotic songs and is accompanied by
some clever marching, drilling and
rhythmic sword exercises.
The first act Is rather thin. The
second is better owing principally to
the efforts of John e. Young in the
role of a tramp. Young does a first
rate specially, in which he sings sew
eral funny parodies. does a little from
bone stunt and bit of acrobatic work. !
Aside from this Young bears the bur-
den of the comedy and arouses most
of the laughter.
Kate Gilmore as Mrs. Delaney en-
ploys sledge hammer method in driv-
ing home the somewhat blunt wit of
her dialogue. May Gilmore as Mrs.
Delaney'S daughter is vocalIy deficient
but otherwise satisfactory A very good
solo is contributed by Louis
M. Granat as Pretty Polly, a gigantic
parrot. Owing to the padding of the
cast in the programme it is difficult
to find the names of those comprising
the Splendid quartette and one or two
others worthy of mention.
The stage settings are pretty and the
lighting effects are good
Maxine Elliott, in the new Clyde
Fitch comedy Her Own Way" comes
TO the Metropolitan theater for three
orb