Los Angeles herald., 1905-05-28

AHRS. FISKE portrays in Leah
Vl Kleschna a girl who has been
brought up to regard thievery
as a calling as worthy of pursuit as
any other. Her training she has had
from her father, man of intellect and
courage, qualities that would have
brought him success in any walk of
life. His view of his trade is epitomized
in his remark to Leah when she hesi-
tates to attempt an exploit he has
planned.
THE profession you're in," he says,
Stands high in my estimation. Hun
dreds of men are playing the same
game and calling it business principles.
We fancy fellows go the straight road,
that's ALL"
With these views from childhood and
with nature that inherits her fathers
brains and self-reliance, Leah has be-
come an active, alert and attractive
girl, with one quality undeveloped-
the quality of moral sense. 1t is upon
the awakening Of her moral sense that
Mr.. Mcclellan has built his play. 1t Is
the story of a woman finding her
SOUL" as the New Thoughters" would
put it. It's point Of view, in fact, is
closely identified with New Thought"
Through the influence of this man,
Iuh ho cha
is led into the light. Paul Sylvaine
discovers Leah Kleschna in the act Of
robbing him and the interview be-
tween them is the pivot of the play.
The scene passes in the library of
Sylvaines home near st. Cloud, and is
played in the deep glow of red
globed lamp. In the darkness Syl-
vaine has entered and found Leah
and she sees in him, when he turns
on the lights, the man who has been
her hero, the unknown who saved her
life and the lives of others in a ship
wreck. She has his picture, bought
when she had seen it in a shop win
dow. He is a member Of the cham
Der of deputies and the most promi-
True to her training, Leah is defiant
even when facing the man, who un-
known to himself, has been influencing
her. She threatens him with scandal
II he makes an outcry and dares him
to call for the police. But Sylvaine
does not intend to call. He believes
that there is good in everyone and
tO hic
moral sense reused to be reformed
Even when he himself is the victim
of crime he is true to his convictions.
He talks to Leah calmly but kindly
and gradually the defiant girl thief
gives place to the real girl, ashamed
and afraid of her life, broken hearted
and sobbing. But at first she refuses
to listen and the scene continues as
follows:
LEAH-I'll not be preached at. Look
here. There's just one thing. Either
go or you stop me. You shan't talk to
me. You shan't look at me like that.
You shan't look at me. D you, stop
looking at me.
SYLVAINE-Do you know what I'm
afraid-you that's behind that unhappy
mask. I've seen it since 1 came in on
you here. Not once, but many times.
l see it now in your eyes as they look
at me. It's the light-the light. Don't |
be afraid of it. Trust me. When did
you first steal?
LEAH don't remember.
SYLVAINE-Can't you remember
when you didn't steal?
LEAH-Yes-no. 1 can't remember.
SYLVAINE-Whe you were a child
in Vienna?
LEAH-No, later, in Milan. think.
SYLVAINE-Your father set you to
work first in Milan?
LEAH-Yes.
SYLVAINE-And soon you and he
began to get on better. There was
more money?
LEAH-We had a home and dad
bought me beautiful dresses and toys.
SYLVAINE-And he told you these
things could always be got?
LEAH did what he told me. He
was always kind and strong, and did
whatever he told me.
SYLVAINE-There was no one else
to tell you to do differently?
LEAH-I didn't know anyone but
dad and his friends.
SYLVAINE-You never questioned
the right or wrong of it yourself?
LEAH-Not then.
SYLVAINE-But later?
LEAH-Not for a long time.
SYLVAINE-But at last?
LEAH-It was too late.
SYLVAlNE-No matter how late 1t
was. You understood?
LEAH-Id been a thief all my life
There was no way out.
SYLVAINE-You could have run
away?
LEAH-He'd have found me.
SYLVAINE-But you thought of it;
LEAH-I don't know. | tried not 70