The San Francisco call., 1905-01-10
w Wdrde and Kid
der Effective in
Main Roles.
BPillid Mt STAGE
Pictures Add
to Play.

Stanislaus STANCE and "Salammbo"
are conjunction that suggests visions
not wholly irreverent. To Mr.. STANCE
we are indebted for much that is en-
gaging in comic opera libretti. To him
most lately has been intrusted the fit
ting of Madame Schumann- Heinck into
comic opera garb, and with entire sue
cess by report. But STANCE and "Sa-
ammbo!'-Harry B. Smith might
come little more hilariously in the
connection, but not much. You cannot
help expecting-they did the play last
night at the Columbia-the barbarian
Matho to jaunt into Carthage on a toy
auto, or Salammbo to plan a theater
hat out Of the veil of Tanit
But things do not fall out at all that
way. Mr.. STANCES dramatization of
Flauberts immortal work proved to
De as dlgnified as 1T is genuinely dra-
matte. The tremendous spectacular
possibilities of the story are, of course,
immediately evident; it's dramatic ele-
ment, separated from the brilliant de-
scriptfve detail of which it is so inti-
mately part, seems a less certain
quantity. Granted music, yes, for the
story suggests eminently operatic
treatment. Reyer, Ferdinand Reyer,
some time ago made opera of it with
out any very pronounced success. ct
was produced in Paris perhaps four
years ago, with only 700 people in the
cast) Mr.. STANCE, however, has sue
ceeded in building a lucid, well-knit
crama on the story, with the salient
situations retained and with the essen
tial dramatic rhythm. The situations
are posed in logical and cumulative
fashion, and it is not Mr.. STANCES fault
that the leading lady suggests Judith"
nor perhaps that of Flaubert. / am
unsure of the judith" date. Mr..
Maeterlinck's "Monna Wanna" has,
however, the distinction to come after
both of these-with the heroine in the
tent of the tyrant, whom<she afterward
loves.
Again Mr.. STANCES exposition is par
ticularly clever. The situation In
Carthage, the Greek view of it, the
mercenaries' view, the characters in
the play are all brought quickly,
easily and happily to the attention and
from then on the interest never flags.
The pictures, also, are admirably
characteristic, the scenes including the
garden of the temple of Tanit and
Mcloch, Salammbo's apartments, the
tent of Matho, the ruins of the temple
of Delos and the Acropolis, all staged
with considerable splendor and COM
mendable regard for historical accu-
racy.
word as to the dialogue. Here
one naturally feared. Yet Mr.. STANCE
has acquitted himself here again with
dignity and even distinction. Even
F'laubert, with his irritable ear, could
hardly find that which would much
Offend
To Frederick Warde and Miss Kath-
ryn Kidder we are indebted for the
production of the play, Mr.. Warde
himself appearing as Matho, the bar
barian, and Miss Kidder as Salammbo.
The work of both players is too well
known here to require much COM
ment, nor is there any new phase
to demand it. Mr.. Warde is the same
earnest, hammered, dignified, emphat-
ic person as always, his clean cut
word, however, coming with new
agreeableness. He does not convince
wholly as the barbarian. but there are
some moments when even Mr..
Warde's very clean and very pink
tights and curried skins do not pre-
vent ones belief in his Matho. These.
mostly, are in the tent scene, when
Salammbo comes to vile the veil from
Matho.
Miss Kidder is stately, classical and
cool as usual as Salammbo, looking
the part very effectively, and lifting
sometimes to its dramatic need. A
bit of quite good work is that done by
Thomas Coffin Cooke as Spendius, an
Old Greek slave. Dudley Kellerd.
Wadsworth Harris as Hamilcar. and
Robert Dempster are all worthy of
mention, and the whole of the large
cast keeps well within the picture. The
musical setting by Henry K. Hadley
adds much to the charm and atmos-
phere of the/play.
The audience last night gave token
of enjoying the play, which is, indeed,
well worth seeing
BLANCHE PARTINGTON.