The Montgomery advertiser., 1906-12-08
THEATRES
Nefhors0Ie as "snpho,
rhe nrt nf Nethersole!

thev followed her through the opening scenes of the play, followed ner through the ensnaring of her victim through the varying moods of tender ness and fury, and, most of all, of sor- row and pIty-compelling grief when Sapho became her own victim. Ihen came the separation, the renunclation;
 Through the well known story or Jean Gaussin and Fanny Le Grand they followed the great actress. They saw her at the last. worn by her own sur fering and without courage to race further woe, leave the man who had returned to beg back the love he had resolved to throw away. With last sob Nethersole left the stage, closing the door of the deserted and dismantl- Jean behind her. The audience rose and walked into the open air, with feeling not allied to relief. And on the lips and in the minds of every one was the one word, the one thought, "the art of Nethersole!'
 For 1t was merely a stage figure that was presented on the board of the Montgomery. Theatre last night. There was stamped upon the presentation or Olga Nehtersole's "Sapho" the brand of reality which convinces unbelief It was a story, taken from the Latin Quarter of Paris, perhaps, but not dis sociated, for all that. from tragedy. the knowledge of which is universal. And through all, the art of Nethersole made ] tstand out living, vital, wonderfully strong. It was an art which touched the circumference of passions emotion at every point. High, intense, compel ling, shook the depts of human feeling with its power. It was. in places, fierce and masterful with wild and stormy passion of a strong, deter mined nature. Again, 1t carried with the lightness and playfulness of the creature debonaIr. fascinating. AL ways 1t was tuned to strike the respon- sive chord Always 1t compelled. AL ways it convinced.
 It was in the third act that Neither sole shines at. her best. Here Jean Gaussin, L0Cn by sense. of duty and th- fiuenced by the feelings of shame and elf-degradation, which follows upon the course he has pursued, determines to break away from the creature who has charmed his better self, and who has woven herself into the fibre of his life. He tells her and she pleads. Ev- cry art that once had pleased she brings upon him. The kisses that had brought him to her feet are insufficient. Tears and entreaties alike are futile. Almost he yields, but the outburst of her passion fails to pierce the deter imitation that has become adamant. Lying on tfTe floor at his feet she begs and almost he is turned from his path Then, the cry of the child that IS ners and another's comes to Jean, and witI curse he rushes from the house. There have been few plays produced | in this country that give wider scope for the fuIss display % of otber ns Ras pre sented .Sapho'' as has Nethersole. Cast and moulded by nature for the role ol the siren who ruined the life of Jean Gaussin, she presents the character Of that siren with an art and 8 compre- hension of the part which transcends anything touching upon the artinclal. It is the artihce which makes the un- real seem natural which marks the great actor And this artifice Nether- sole has to the most advanced degree,
 But the art Of Nethersole does not stop at the representation of her own role, great as this Is. It Is apparent in everything connected with the produc- tion in which she Is the star; In the smaller niceties of the play Tn scenic environments, in stage managemeht, m the manner in which the different roles of the piece all contribute ;helr part to make the great one great whole there her art is apparent as well. Plac- ing a less competent person Tn the acter, the play would still be a strong production, for it would have In 1t the essentials, al of them-save one It would still be great pIayLput out Nethersole, however. strong might be the other components which go to make up the production, would be im-
 Hut "sapho" Is an immoral play. it has been said. It deals with the slde of wife which develops knoWledge or things better left unknown It depicts an existence unhealthful to the mind. an existence debased. It tends 10 ere ate a lowering of the moral tone. 1T any one who has seen the "Sapho or Nethorsole has not felt the force or fhe object lesson it contains, that per son has missed the keynote of the play. The Pilgrim of John Bunyan was shown the terrors of hell that h. might take warning. The torment Of lost souls in the allegory was no more pow erful than the torment of the lost souls depicted in "Sapho." Certainly 1t was not presented in so strong and vivid lights, in such dark and gloomy shad-
 To speak of the presentation of Nethersole without commenting upon the work of Frank Mills, who DOT trayed the character of Jean Gaussin. the young Frenchman, studying for sible His characterization was strong to a pronounced degree. His support fully met the requirements of the part which must be companion to that of the great star.
 Of the other characters. those of M Cesaire Gaussin, the uncle of Jean, pre- scented by William C.. Clark: that of Hottema and that Of Ina Goldsmith. as Francine. were specially worthy of commendatiOn. It may Dc lid, in word. there were no weak characters in the entire cast.
 The scenic equipment was superb The visit of Miss Nethersole--if we are not mistaken her first visit to Mont great audience showed its warm appres citation of her worth to theatreland
 '9The Black Crook"