The Greeley tribune., 1906-02-08
Amusements
Lewi. Morrison In "Fau.t."

Lewis Morrison himself will ap-'
pear here at the opera house Tues
day, Feb. 18th, in newly revised
version Of Faust What the
dramatist calls heart interest has
been the cause of the longevity of
many plays when injected in sutii-
cient quantities. Goethe's immortal
poem of Faust" is credited with
many years of phenomenal prosperity
in its dramatized form, greatly ow-
ing to the..dramatist having carefully
preserved the struggle between good
and evil of Faust and Marguerite,
though sorely tempted and domi-
mated by passionate love : other
wise one phase of heart interest.
The temptation Of Faust. Faust's
rejuvenation and passionate desire to
possess the lovely Marguerite, the
hapless fate and final apotheosis of
Marguerite, the revelation Of the
neither depths Of the Inferno, with
Satan as visible entity in the per-
! son OF Lewis Morrison, possesses
fascination that is evident when
ever Lewis MorIison's production of
Faust" is presented. The elabor-
ate scenery and beautiful electrical
effects, together with vividly
realistic picture of a flaming sui
phurOus Inferno in the third act are
factors in the beauty of the produc-
tioh, but 1t is the heart interest
evoked by the purity of Marguerite,
the passion of Faust and the subtle
deviltry of Mephisto which appeal
so strongly to humanity and leave a
lasting impression when the memory
Of brilliant light effects and beauti-
full scenery is faded. The beauty Of
the garden scene has this season
been enhanced by series of new
electrical and calcium effects which
are finely graduated by skilled cleo
tricians. AS the temptation Of
Marguerite proceeds the white glare
Of the afternoon sdftens and merges
into the beryl, amber and purple Of
sunset, throwing the profile of the
spires Of the Nuremberg cathedral
into high relief against the sky line
while the gloom in the garden deep
ems as Faust under Mephisto's spell
lures Marguerite to fate of which
fast deepening gloom is typical AS
the soft light of the moon rises max
ing clearly visible the white robes of
Marguerite listening to the passion
ate pleadings of Faust, and the weird
figure of the mocking Satan beyond,
one begins to realize the aid these
transitions of light, the beautiful
garden, quaint old house and
qualnter spires of Nuremburg have
given to this impressive scene, but
over and above all, auditors are i'm
pressed by the Satanic glee of Lewis
Morrison as Mephisto. The subtle
pantomimic expression of his power
full face is mocking, triumphant,
anxious by turns, until the exultant
outburst which brings this intensely
human scene to an end, with SYM
pathy for poor deluded Marguerite
and hatred for Mephisto controlling
the audience and voiced by tumultu-
GUS applause which necessitates the
stage managers ringing up the cur
tain again and again. Despite the
obnoxious character of the part he
plays, Lewis Morrison's splendid
subtlety, technique and masterly
transitions from softly suggested,
half whispered temptation, to domi-
nant exulting triumph. at the success
Of his evil scheme, entitle him t6
the high position he holds and the
, unbroken run Of successes he has
achieved. None OF his imitatort
possess the Morrison magnetism OF