The Minneapolis journal. [volume] (Minneapolis, Minn.) 1888-1939, 1906-10-13
ADJUSTMENTS

MetropoIitan-''lh ne voice OF the Ml9nty.'
7 James O'Neill and accompanying play
ers gave the first presentation Of THE
Voice Of the Mighty at the Metropolitan
last night. It is hardly fair to judge play
or player upon first night performance
given under the serious handicap Of moth,
ing more than road rehearsals. With the
obstacles and hindrances considered, Mr..
O'Neill may be said to have scored an
artistic success SO far as his own work
Is concerned. -. ..- u,
Mr.. Steven, the author, has based his
production upon the life and movements
Of John the Baptist, but has taken great
liberties in giving to the prophet In the
wilderness the speeches of the Christ.
He has drawn a John of character and
strength, unmoved by persecution and
mistaken by temptation. ~ -
There is little Of active narration by
the playwright. In the first act the
scene is laid in the wilderness with the
seeking of John by high priests, soldiery
and populace. John appears, breaches
and inveighs against the general immor-
ality of the time and the rulers. The
| second act brings the apostle to Jerusa-
lem, before the temple where he de-
! nounces Herod and Herodias and is made
a prisoner. -.. 90. --r..r -
The third act, calling for the lapse of
a year, opens with the temptation of
John by Herodias, the murder Of Philip
the might and power Of Herod. The
fourth act one day later, brings the
festival Of Herod the dancing Of Salome
the confusion and pledging of Herod and
the demand for the head Of John. Here
the dramatist has once more ,strayed
from the historical text. In the final
tableau the arrival of the Nazarene In
Jerusalem and the triunlphal passing is
suggested by the waving of palms in the
distance and the reverential homage OF
prince, prophet and populace within the
palace, John leading the devotion.
! There Is a lack of story, Mr.. Slever
selecting the more important events ir
the career Of the apostle for portrayal ir
a series Of pictures or scenes. Las
might, even with the crudities of hurried
production, the reverential spirit of the
play was manifest thruout the audience
Mr.. O'NeiN approached the role Of st
John with reserve, dignity and rever.
ence. a. He has subdued his accustomed
effort for lorid effects in all save thu
tableau of the first act. He was sue
cessful in creating the desired atmos
phere and delivered well-deserved re-
Duke to the audience in the close of thu
third act, when they called him fortl
from his Interpretation of John the Bap
ttst, to make a speech as James O'Neil
the actor. The rebuke was not scathins
or blunt, but was given in q, few word
and was richly deserved. The incon
tgru1ty Of demanding speech from al
actor working up to the demands of sucl
a portrayal was evidently overlooked b,
the audience.
The Herods Antipas of Edward Don
nelly was forceful and dominating
EJuniata La Lande was evidently workin
) under different conception OF Rut
from that ordinarily held by Biblical stu
dents. Miss La Lande; gave,>to Ruth Z
nature burning with a deep hate and re
sentiment, even after the baptism q
John. Miss Dale, as Herodias, made tn
most Of her powers in the role Of tempt
! ress and wanton. Charles Bouton an
| James O'Neill, Jr., scarcely reached TIL
possibilities of the roles Of priests. 81 :
Scenically the production speaks: {
newness and some of the settings posses
wealth Of distracting detail The cos
{ tuning leaves nothing wanting.
1.-THE Voice Of The Mighty, hold
within it the means of a. great. artist
success for Mr.. O,Nelll If: the aproductio
is smoothed and perfected. at points b
further production. It will 'irequil
Strengthening in, the finale and at tt
close of the second act. .,att,<,,
. The incidental music is that Of Clauc
= Madden, the Minneapolis musician WI
: conducted the orchestra last night. M
8 Madden has written with his accustome
, cleverness, subordinating his work
!. that of the author and players, but SEQ
! ing a distinct impression nevertheless