The Minneapolis journal., 1906-12-16
BILLS Of the WEEK

melodrama, but the situations are
strong and the dialog convincingly nat
ural. Mr.. Broadhurst's effort is ac-
cepted as a strong one, foretelling still
better things as he gains more conf
dence in his new field Of endeavor.
Charles Klein, by the way, has been
explaining to. a New York interviewer
his idea of the purpose Of the drama.
Incidentally, he defends his play
against the charge that it IS
"preachy," melodramic and over-seri.
GUS. The conflict between capital and
themes possible for an American play.
In Europe, lie saws, the sex problem
is paramount, because, while Americans
take it for granted their women, are
faithful, Europeans are not sure about
it and the sex problem thus becomes a
most absorbing one for the drama
abroad. "The Duel,' which has just
been seen here, he thinks "a fine ex-
ample Of the. "preachy' drama. His
own purpose is to picture contemporary
conditions as they actually are. Bold
scenes and broad contrasts he believes
essential to a compressed dramatic
treatment of live themes. ''The public
wants vital meaning in a play and is
tired of the stereotyped plot-false
chivalry and immoral mora lity.' Here
is Mr.. Klein IS opinion of Bernard Shaw:
Shaw has to great extent destroyed the
! theatrical puppet of other days and has helped
to throw us back for material on raw, naked
life. Dramatically he is the son Of Ibsen. He
sees life as Ibsen saw it-plus the spirit of
satire-but his lack Of human sympathy will
prevent him from ever becoming great dram
atist in the highest of the word. Shaw
has OF the most wonderful intellects of the
era-a mind containing a mixture Of idealism,
iconoclastic impulse, satire, pungent wit, bru-
tality, and a tremendous sense Of humor. Ibsen
and Shaw have upset the traditions of the hero
and heroine and "sich''; they have forced the
dralnatist to search for material closer at hand.
Robert Mantell has adopted a most
praiseworthy program plan in his re-
cent New York Shaksperean -produc-
tions. The "bill of the play'' is care
fully edited and filled with as many
orchestra concert. Not only are the ex-
cisions and omissions of characters,
scenes and passages from the original
text carefully explained, but the his
toric as well as the dramatic time of
each play is given and there are
copious extracts from the great Shak-
speran editors. The spectator who
thinks he knows the play from having
read it, is thus given a complete guide
to the acting version which enables
him to straighten out many puzzles
that would otherwise remain recondite.
| Mansfield is accustomed to give his
patrons a certain amount Of essential
information in the program, but as a
rule there is nothing but the cast of
characters and the list Of scenes hidden
among wilderness of advertising.
| Sometimes, indeed, there is added an
intensely interesting list of those who
furnished the wigs, the shoes and the
grease paint. Comparatively seldom is
even the list of orchestral music given
1t is time the eabill of the play was
edited.
Lillian Russell is soon to start on
! her travels with private car, maid
valet, a private secretary, a French
| chef and colored porter in her suite
Leaving Philadelphia on Jan. she will
live in. the car until the end of March
presenting s'The Z Butterfly all over
the country. Of course, Minneapolis is
included in her itinerary, and we shall
have an opportunity Of searching as
minutely as we please with ourtt opera
glasses for the ravages which time
despite all visual evidence to the con.
/ rary-must have made in the famous
stage beauty. Miss Russell hasn't beer
here since the engagement "a number
Eof years ago in which, she appeared
with Jefferson de Angels and Della
/ Fox in The Wedding Day. y He,
] pulchritude has that sempiternal DUAL
Iity which makes it quite unnecessary
ifor her to indulge in fareWelling