The sun. [volume] (New York [N.Y.]) 1833-1916, 1905-05-03
ETHEL BARRYMORE IN IDCEE'
oTBE DOLL'S MOUSE" PERFORMED
uIrH SCRPRISING VIRTUOSITY.

An Imprrsination Of Great GIrIlsh Charm
ard Dramatic VINaclty which Fell
short Only In the Great Moment Of
Noras Hr,Olt-An Excellent Cast.
They arn astonishing flowers that bloom
In the spring, with the fitting OF the so-oalled
theatrical attractions; and nons Of them arc
II mon, fearsome aspect than the deadly
uight,hlde Of lbsen AZ performed by the
ambitious hedgling. a Dolls House'
in particular has served as a hoop through
which many ungainly limbs Of evil aspira-
ton have eaped into the Serious Drama.
What agonies have we not all suffered
from the spinal consumption Of Rank, the
splneless egotism Of ThOrpdld and the
doughty IL doughty, individualism Of Moral
The most that was TO have been expected
Of Miss Ethel Barrymore was a miHgated
damper on the joys Of springtids.
Judge then OF the delight Of finding her
performance last night at the Lyoeum a
work Of individual and creative force
which, unsteady though III was at times,
wa, always interesting and in some aspects
salient and inspiring. With such a hack
neyed play only real talent can succeed
in commanding respect. Miss Barry
more did so infinitely more than this as
TO eudow certain passages with q positive
freshness
Girshly gracious and charming as her
personality s-and never has It been more
~ than last night--it suggests rather the
ideal and spiritual lassitude Of one Of Burne-
Jones's figures than the happy, nthinkinR
childishness OF Ibsen's bourgeoise wife
and mother. But, curiously enough, It
was in the birdlike, squirrelike animality
Of Nord's afectional nature that Miss Barry
more was at her best
In denoting the obliquities OF the doll
wife's nature-infantile ignorance and femi-
nine arrogance. petty lies, shifts and eva
sions she failed, perhaps, Of the subtle,
intense and salient comic spirit which Mrs.
Iiske 80 marvellously revealed; yet there
was vital reality in the impersonRtion
with which We do not remember TO have
seen it endued. It fairly dubbed with
sparkling girlishness and obliquity.
For two acts the performance mounted
in steady, yet intelhgently modulated
crescendo. In the scene with the children
Miss Barrymore struck a surprisingly sin
oere and rollicling chord Of motherly ten
demess, and by the aid Of three capital
little actors, admirably rehearsed, created
an impression Of simple domestic happiness
which will not soon be forgotten.
With this as a background, the moment
in which Nora first realizes how unworthy
sne is Of the responsibilities Of motherhood
comes with a doubly poignant subtlety.
From this on the awakening Of the soul
Of the childwife is denoted with astonish-
ing variety and force.
ihe dramatic climax OF the dancing OF
the tarantella could scarcely have been
better realized. 1t has become the fashion
10 regard this as somewhat unduiy stacy
for lbsen. William Archer has called It
the last fare Of the theatricism which the
austere Norwegian stage manager initiated
from Scribe. Miss Barrymore invested
it with a naturalness and force that quite
redeemed tiff, indeed, it IL in need Of
redemption.
Actors there have been who went through
the steps with the precision and flourish
OF premiere ddnseuse, and Others who
reduced them TO the Intellectual hop, skip
and jump Of unstrunR nerves. Miss Barry
more danced like a clever amateur who
knew the steps and executed them ably
vet in a manner that strikingly emphasiz I'd
tIe narrowing stress OF the moment. II
was moment OF vast dramatic portpnt
In the great scene Of the last act in which
the disillusioned songbird has realized her
husbands seltshness, and with il the arti-
hciality OF the whole social fabric, demands
a, depth and virtuosity Of passion which
Miss Barrymore has not vet achieved,
Denied the aids Of dramatic situation and
action, the actor IL obliged 10 rely solely
on the resources Of voice and facial eX-
preston. An intelligent effort was obvious.
tut not the effect Of technical and tenn
ornamental power The mind was troubled
with memories Of how much more Of fatality
and spiritual passion both Mrs Fiske and
Frau Soma threw into that exit through
the open door Of awakened life
nat the performance suggested such
high comparisons, however, is not the least
striking evidence Of its excellence. The
kind OF play in which Miss Barrymore Is
fated to spend the heyday OF her youth
and strength-"The Country Mouse, ASun-
Gay even that deleotable comedy Cousin
Kate Offers little scope TO an artist Of really
in'eiliRent aspiration. We have much to
he thankful for that she has the courage
AMI the Initiative TO attempt worhier achiey-
ments
Il is we'll worth while 10 he reminded
that grim and uncOmpromising as Ibsen IA,
he is a thousand times more enjoyable
lha1 We are often permitted 20 realize.
tyen the GalliCized naturalism Of Carrots
Miss Barrymore makes TO blossom like
fower-n comparison with most Of what
passes current for amusement. Perhaps
she will revive il for US now as a curtain
raiser
The supporting actors were able and in
tellgcnt without, however, being dis
unguished. As FhorUdid, Bruce MoRas was
admirably masculine and foroible but
lacked finasss. The long speech while Nora
j. dofhng her doll costume OF stage Is OBJ
Nlously inteDded 10 be addressed 20 her
through the door. Mr.. McRae spoke It 10
The audience az IL il were a solioquy.
Much praise is due TO Joseph Brennan
Tot making KTo7Stdd somewhat sym
Pathetic. As usually represented he il
Patent villain Of the order OF the carpenter.
hngHrdd, in @Ghosts.' But, unless there
j. kernel of good in the character, Chris
!.nas her TO marry him is incredible and
impossibly painful.