Evening star. [volume] (Washington, D.C.) 1854-1972, 1906-02-04
-vHE magnificent

s.o,5ard for the Biblical drama
,,bicb has made subsequent ex-
nerInent in that highly interest
ing field extremely difficult VIZ ,.p,,gb,v
t,,I novel in which the plot had tholo ,'-' A.
,vorked cut and the characters car
,,eioned as its basis 1t was presence "a,
+bs auspces of a management WIN" -.
ora ,iberallty In design ,ng spectaculat
90 ,,,,s,,rpassed II "Mizpah," the ne"
biblical play. is something less IA'- ..rha
IT, n Is considerably more thah
- IT., The inherent crudities OF
,ts structure are deftly concealeo pS nv
.~rart,ass Of technical establishment. Inc
,epgnaqe EMPLOYED has at times ROBUST
.ootto swing hut there is throughout 'he
s,o1ogua an artificial and apparent enort 10
syggest the speech of olden times Inc
surqestIon IL rather OF old England than OF
evident Persia. The dialogue is far behlno
tbe scenery in conveying an Idea OF the sur
rcundings amid which King AhasueIuS
dwelt Much of the interest OF WORK
which goes to history for its inspiration oe-
nsnds on the skill displayed in presenting
The methods OF life and modes of thought
which gives this epoch distinction
~
II was this infinitely studied detail which
made "Ouo Vadis" a work of such impress
sive interest 1t showed the studied re-
search that inspires confidence The author
had applied himself with diligence 10
mastery of his subject, and he spoke al
most with the authority of an eyewitness
SO thoroughly had he weighed and sifted all
available report Flaubert provided model
in this respect in his novel "Salammpo'
which should be studied by every writer
either for the stage or book shelf VINO I'M
dertakes TO reproduce historic or traditional
events.
~
Mrs Wilcoxs widely beloved muse has
disdained the drudgery OF the museum. The
rhetorical vitality of her discourse Is not
upheld by substantial research. There Is
nothing in the manner or substance of what
IS said to give the characters interest save
as ordinary people whose natures are
wrought upon by startling experiences. The
actors are not personages of the period. but
mere masqueraders. Mr.. McClosky, who
sings so sweetly and bears himself so pic
turCsquely with harp and minstrel garb is,
despite all assurances of the program to
the contrary, McClOsky still. The king,
queen and courtiers are all efficient players,
whose identities are obvious throughout the
play despite their magnificent DISCUSSES.
x
Dramatic license Is freely exercised IN
'AIlzpah' Events materialze with sud
denuess that sometimes threatens TO de-
gtroy the impressions OF seriousness. When
King Ahasuerus dsmisses his beloved
Nashti for the lack OF i little of Petru-
chio's SAVIOR fdire he does not succumb TO
the depression which would be natural
under the circumstances. He Issues imme-
date orders for 4 proclamation, the want
column being unknown in his day. which
viii let the public know that applications
for the position OF queen will be placed on
file at the palace. The procedure is
trife abrupt. not to say indecorous. 1t is
true that the Book OF Esther presents this
incident in almost as direct a manner, but
It IS the province of the poet to supply, both
by scholarship and imagination, the PROC
able facts which surround and explain an
extraordinary happening. 1t IS this elucida-
ton which gives romantic fiction its chief
claim TO intelligent approval. Another IN
cident Of "Mizpah' In which the analysis Of
motive Is far from complete is the kings
cCurtshlp of Esther With no previous ac-
quaintauce and no assurance OF her worth
iress he throws himself. crown, sceptvr
and all, at her feet. The power of poetry
Is great. But even Esther's recitation OF
love poem, on which ST. Valentine HIM
self could scarcely improve, would not be
sufficient 10 overwhelm monarch whose
previous experience were so calculated TO
invite q certain discreet cynIcism. A num-
Der Of episodes are gratuitously magma
tive, but the lack OF symmetry is con-
cealed to a great degree by the very able
work Of the experienced acting company.
"Mizpah" suggests an inquiry. Why
should comedy be considered an absolutely
essential in every play, no matter what It's
character? Some OF the more competent
playwrights insist on introducing It in the
most barefaced and perfunctory manner.
The young Persian gentleman who contin-
ually alludes TO the time when he was at
Kush seems to be a competent and deserv-
ing player whose talents should not be en-
tlrely absorbed in a work which a mediocre
parrot could do with equal effect and rele-
vancy.
Despite the fact that Mr.. Belasco has
given his name 20 the theater formerly
known the Lafayette, his personal in
fiuence in its destiny has so far been bu:
slight. The production OF the Girl of the
Golden West last October looked like a
triumphant inaugural, for ''Belasco" is In
this city a name TO conjuro with. 1t mas
for some time been evident that Mr. Iselas-
co did not personally supervise all the pro-
auctions which have held the boards at the
tkeater named after him. In striking con
trast to the Girl of the Golden West"
1.-THE Darling OF the Gods" THE Heart of
Maryland" the Fiske and Greet players
and the Mrs. Carter productions have been
such things Mrs. Temples Telegram"
'Loveland." ''Fantana" and that recent
sorrow. "Mexicana." The announcement is
made by the theater that the Belaseo The
ntAr Is under the personal direction of Sam