The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1907-11-20
SECRET ORCHARD"
FORCEFUL PLAY
Claiming Pollock's Drama
Produced by Capable
Cast.
Playwright Fails to Answer
Question Which He
Propounds.


Orchard He has treated his subject
in a broad. foreeful, daring manner,
and throughout three acts of the play
at least it rings true and carries con-
victlon to lis auditors. It is the most
dangerous problem AR. Pollock has
ever attempted to handle That he fails
TO solve It satisfactorily does not les
sen the interest aroused.
The Secret Orchard" is not a play
which can be commended as a diversion
for the young. And when this is said
let It NOT be construed as an adver-
tiselaeut Of naughuness. There is none
of the French risqueness witch would
ensross persons seeking suggestive lines
and questionable situations. The play
Is constructed on larger lines. 1t IS a red
cOrpuscle drama.
The Secret Orchard" is OF the semi
clinical type. 1t lays bare the weakness
Of woman. the ruthlessness Of man. 1t
portrays the suffering and the anguish
- both, and in equal proportion.
The text upon which Mr.. Pollock has
buiided his play is misleading The nat
Ural inference to be drawn from 'If a
man be forgiven, then why not the
woman Is that the lesson Of retrfbu-
tive justice is set aside. On the con-
trary. the story discIoses that sins
Nemesis is InexOrabie, both for the man
and the woman, and the suffering Of
each is made the harder 30 sbear by
reason of the dual consequences. Ex-
ception may be taken to the presenta-
ton OF such subjects upon the stage
whittier young and old alike are per
mItted TO go for recreation or intro
spective study, according to tempera-
mcut, but none can be taken to the
conclusion emphasized by the play
wright that sin, when it is finished,
bringeth forth DEATH" death not neces-
sarily 10 The body, but death 10 peace
of mind, death to happiness. and death
TO the joy and love of some fellow
being.
Independent Of its ethical significance,
The Secret Orchard, is d play of in
tense human interest and dramatic force.
The dialogue IS incisive and effective,
The character drawing on the whole
careful
The central theme OF the play is quick
" told. The Duke OF Cluny. happily
married, betrays a young sir, Joy. This
gir, whose past Is unknown to the
duchess Of Cluny is broughr into the
C!uny household as an adopted laugh
ter. Cluuy and the girl recognize each
other too late to prevent the calamity
Of constant association with each other.
The girl is loved by Cluny's cousin,
Dodd. When he asks her to become his
wife the truth is made EuCWn TO the
duchess. The girl returns 10 her own
People. D0dd. who still wishes to make
her his wife, vowing loyalty 10 her until
she shall consent 10 marry him and
forget the past
The story is told in graphic style. and
the cHmaXeS in both the second and
third acts are handled with skill. The
Dig scene in the third act comes after
JOY has refused to marry DOdd She
IS forced 10 make known her sin, as
Ciuny when asked to advise his kins-
man against such course, to her hOr-
Tor urges the wedding. In a frenzy or
despair and bitterness Joy denounces
Cluny- But just as she 5 about to
point the accusing finger at the man
standing deadly stiH beside her the
duchess steps forward demanding the
name OF the betrayer. The sight of the
duchess and the knowledge Of her love
for Cluny checks the words on Joys
lips, and she murmurs He is dead"
The only disappointment in The
secret Orchard comes in the fourth
act, which is needlessly expOsItpry
When all the interest centers in four
lore the fCot1ghts practically every
member OF the company. The comedy
element introduced by the Marquis OF
LOrlneS and the figure OF the old Viz
GINA nurse IN TIE doorway were IN
eongruous and instead of being 3 relief
from the tension Of the moment these
episodical entrances proved irritating.
The main point OF attack on the
dramatic logic OF the enduring filS'' love
of DOdd for the disgraced girl. After
the exposure of her past. Dodd
still pleads with JOY TO become MS
VIE, declaring that her sin is not an
obstacle TO his all-encOmpassing love.
L 40 not bring 10 you perfectly clean
record, joy he declares. "and shall
demand OF you more than I ctzn giVe?" /
Is this plea natural? one asks. Is Il
eueCtlVe, and can the woman attain /
happiness in the end2 The last two
questions the playwright does not an
sWer. He leaves the solution % his
audience. with the closing benedictiOn
from the lover: I am the kind Of man
Who, waits. and waits. and waits for
his hearts desire"
The secret Orchard is presented by
an unusually capable company. Vim
cent SerranO, as the Duke of Ciuny, was
foTCeful and convincing. His tragic pose
at the end OF the third act was a no
table achievement in itself. Mr.. Ser
Teno's chief fault was a too rapid read
Ing Of his lines during the more dram
attic moments OF the play. Much Of
their effectiveness was LOST ON these oc- /
caSiOns.
The Jacques Favereau o. Edward r
NawsOn was convincing and sympa-
thetic, The character is well drawn and
carefully interpreted.
Miss Adelaide Prince as the Duchess /
Of Cluny, IN the first three acts OF the
play was genuine delight Her clas-
sic features, grace and dignity of bear
ing and musical voice combined to make
a stage picture OF strong appeal. In
the fourth act. however. she failed to
sustain the favorable impression she /
had created The playwright has given
Miss Prince an almost impossible situa-
lion TO handle.
il is doubtful II the part can be acted
With naturalness and power. and is,
therefore, easily the weakest point in
The play.
The part of the girl, JOY. was PLAYED
with great discretion by Miss Josephine
Victor Upon her devoIves practically
Il! the emotional work. and she han
lies IL with giF;ish abandon. marked by
4 freedom from the conventional meth
DDS Of the average emotional actress |
The minor roles were handled satisfac- /
.orily I
The cast was as follows:
The Canon .-.-.........F Frank C. Bangs
Blanchelte. a nurse. ..-.----.- Ida Lewis !
Doctor l1eoei ....-. $500. Edward See /
The Duchess OF Cluny. ......... Adelaide Prince /
.m-H-a WnHH--