Evening star. [volume] (Washington, D.C.) 1854-1972, 1905-11-19

mixture Of opera and melodrama Which
IL has been on view at the New National
this week most extraordinary Sc
ries of contrasts 1t IS: one moment solemn
as a church yard inscription and the next
as airy and irrevelant as Christmas pan
tomine Sardou would never recognize 1t,
or If he did he would pretend not to.
'"The Duchess of Dantzic' may be &C
cepted as a typical specimen of the COM
mercial theater; an assemblage of reputa-
tons each of which has considerable
market value. in a style of entertainment
carefully though perhaps mistakenly cal
culated TO meet the current demand. There
is no greater reputation IN the playwTiting
world than that of Sardou. SO Sardou's
name goes on the program. The public likes
melodrama. There is nothing more melo-
dramatic than Nine. Sans Gene. The pub
lie likes music. Very well; put In some
music Ivan Caryll has written pleasant
and popular melodies. His name will help
in prestige O. production under the auspices
of MIR. George Ewardes, that eminent and
weU-known London architect of musical
shows. ought to insure something agreeable
and out Of the ordinary.
II sounds a little like a recipe out of
cook book
But there is a clash and jar which the
orchestral harmonies cannot drown. 1t IS
the battle of CULVER with the pigmies.
Sardou, the giant among them all, IS being
attacked and hampered by a swarm OF
writers and performers and singers and IN
strumen,aIists. 1t is an interesting battle.
Now the great dramatist is assailed by the
composer, now the comedian buffets him,
and next the chorus makes at him EN- masse.
But he holds his own. He is too big to be
overwhelmed
So clearly has Nine Sans Gene been i'm
pressed on the mind of the playgoer that
the music which this peculiar piece con-
taIns is but a series of Interruptions and
the comedy, save where 1t follows the orig
inal text. seems crude in its farcical en-
phasis The caroling throng of citizens and
citizenesses and the acrobauc song-and-
dance man denoted a disregard for the dig
nifty of the play little short of irreverence.
It would not have beeen so shocking had
the play, Nine. Sans Gene" been utilized
as a suggestion and its characters repro
duced in a spirit of consistent travesty.
But the drama was thrown upon the boards
in practically its primitive form, with few
holes cut into It in order that patches OF
more modern material could be applied.
Miss Evie Greene, who plays the title role
IS q lady of rare talents as a comedienne,
of charming accomplishments as a vocalist
and of decided audacity as an Interpreter
of character.
When Nine Sans Gene was done into
English It had its first presentation in this
city at Albaughs Grand Opera House. with
Kathryn Kidder as the star. The man
ayers did not want Miss Kldder In that
capacity, but she had secured the American
rights to the drama and pluckily held out
for her ultimatum, which was. NO hath-
ryn. no Sans Gene. Her brilliant success
in the role provided another OF the numer-
Gus instances in which managerial 1uos-
rnent has been mistaken. One of the prob-s
lens which arose in adapting the piece was
as to the reproduction Of the colloqualisms
in the dialogue, which gave the conversation
of the dainty little washer-lady so much of
its p!quancy There was no little critical
protest against the freedom with which
current American slang was introduced
The slang remained. 1t was contended that
there was no use of reproducing the talk of
the streets of Paris, either IN French or by
literal translation. It would be unintelligi-
ble The only way TO secure the desired
affect was to utilize the talk OF the streets
of New York 1t was a good argument,
but Ike many another good argument has
been reduced TO the absurd. Miss EVE
Greene was not content with the diction of
the streets of New York She has gone to
the streets of Dublin and plays the part
with a brogue that needs only an occasional
'bedad" or "begorrah' 10 make it com
plete.
There is no more telling speech IN 1.-THE
VIrginian'' than the hero's simple declara-
tion This is the west. maam 1t goes
far toward explaining how a man could go
out and hunt down his best friend and
hang him for cattle stealing. The very
atrocity Of the thing is convincing; 1t is
the touch of exaggerauon which the the
alter must use In order TO make vivid the
impression that is sought to be conveyed.
But the episode puts Mr.. Farnum at a
continual disadvantage. He must exercise
all the magnetism which he possesses so
abundantly to overcome it and remain COM
pletely a hero. Mr.. Campeau on the other
hand has a comparatively simple and
straightforward task. Trampas is a viii
lain from the start. The more villainous
he is made the better. There is no moment
when the character waivers in its consist
ency. Despite the wonderfully nne delin-
cation of the part that Mr.. Campeau gives.
there is not q sound of encoura cement
from the auditorium. He utters no senti-
ment that can bring forth the faintest
ripple of approving response. But they
talk Of Trampas as they leave the theater.
If Mr.. Campeau were playing in a popular
priced theater, how soundly he would be
Missed! 1t is the most striking portrayal
OF a vilainous role since Richard Mans
field sprang into Importance years ago by
his performance OF Baron Chevrial. Tram
pas is however. much more limited in
scope than was the role of Chevrial. 1t
Is much to be feared that Campeau's bril-
liant success in this role has doomed him
TO play villainous parts Cor the rest of his
days. Perhaps some playwright will be
found with sufficient genius to create
sort OF Mexican Richard III for his es-
pecial benefit. The interest he could lend
20 such an impersonation would be great
for there are few actors whose work goes
over the footlights with more powerful
appeal. The bit of pantomIme which re-
yeals Trampas. fearful. yet compelled by
pride I'm his evil reputation to make good
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