New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1907-03-22
A STAGE NAPOLEON.
NJ. John Hare and Mss Irene VQn-
brugh IN Good Acting Parts.

OF his unofdcial title. Napoleon Of the Stage"
He produces plays based incidents in the
career OF the little Corsican who, in the words
OF AInrius. made France truly great. This
would I've a hazardous undertaking if theatre
goers were invariably fascinated by
glimpses OF the familiar uniform in green and
white. with gold epaulettes. and Of the Tuileries
and 81. Cloud with the stately Empire furniture
and groups Of generals and court ladies. The
dramatic critics seldom like Napoleonic plays
and are ready to disparage them as anecdotes
illustrating a few traits when the of des-
tiny had in his brain the cube Of human fac
ulties" Certainly historical portraiture is inn
possible in the theatre when the subject has all
the elements of greatness. An actor may stride
across the stage with limping gait, or fold his
hands behind him or across his breast. as
though forty centuries were looking down on
him. but he cannot hope 10 rise TO the full
stature of Napoleonic grandeur Yet he viii
have public sympathy, even If the passages OF
character are desultory and the flashes Of rec
ognition evanesoent. Name and figure appeal
10 the imaginations Of playgoers. They are
profoundly interested in Napoleon's career be-
cause 1t is the greatest melodrama of modern
history.
Pierre Bertons Great Conspiracy" as
adapted by Mrs. Ryley and produced al the
Duke Of Yorks Theatre, is not so good a play
as Sardou's, IN which Sir Henry Irving and
Miss Ellen Terry appeared 10 the satisfaction
Of thousands in the Kingdom and in America
Il lacks cumulative effect. for the first act closes
with realistic bomb explosion and the last act
with snuf-taking and fit of sneezing when
the poisoned snufbox has been taken out Of the
Emperor's hand Those acts need to be re-
versed for the sake Of climax, It is stage
made play with that sense Of artihcialty in
~
puppets which invariably fatigues and exas-
perates critics Yet there is an interesting
story. which Is eagerly followed by theatre
goers. and there are dramatic situations Of alb
sorhing intensity. The historical basis for the
play is the mysterious explosion in the streets
Of Paris when the victor of Marengo vas driv-
ing 10 the opera with Josephine. Napoleon him
self considered it an outbreak Of Jacobinism.
In the play the chief conspirator is a Royalist
marquis masquerading as restaurant keeper;
and he is not so terrible villain for he leaves
his young wife. who is not his accomplice, under
orders 20 keep her dashing lover. one Of
Napoleons officers with her until the hour
timed for the explosion, and thereby enables
her TO save his life The marquis is not killed.
although another conspirator wearing his coat
Is mistaken for him: and there is a duel Of
wits between Napoleon and the young wife over
the secret which she will not disclose. even
when he forces her TO marry the gallant officer.
In the end the marquis appears at ST Cloud as
the attendant of the Minister Of Justice, and
substitutes the poisoned snuffbox for Napo-
leon s. and he is killed in duel after his wife
has saved the Emperor's life. With admiral
acting it is an interesting play, and II is clean
and wholesome. and that ought TO be worth
something in these days Of tainted drama,
morbid fiction, social scandals and noxious
Thaw trials.
Miss Irene vanbrugh plays the part Of the
heroine with fascinating charm and dramatic
intensity; and 50 fine is her variety and so
flexible her method that there is not a reminis-
cenoe Of the resentful young wife whom she has
been impersonating for over a year in His
House in Order" Her coquetry. vivacity and
4 whimsical humor are delightful in the scene
where she detains the young officer in the res
taurant in obedience 10 her husbands orders;
and her performance steadily gains dramatic
power when Napoleon alternately wheedles and
DULLES her in his discrimination. and finally
puts her to the supreme test Of marrying the
man she loves when her husband is alive and
she has promised not to hetray him. With
bewildered air, yet vigilant and self possessed
because the Emperor's searching eye is upon
her. she submits to the mock marriage. and
when il is over and she is alone with her arden.
lover. the struggle between love and duty is
denoted with quiet intensity and womany feel
ing, until she pledges him 10 secrecy and tells
him that her first husband is living and plotting
against the Emperor. When Napoleon inter
venes and orders the arrest of the young bride
groom there is an outburst Of passionate love
and despair when the bride is left alone Arch
mischievous and fascinating she is again in
the final scene with the Emperor. when she
coaXes him 70 give up the poisoned snuffbox
but the art with which it is played is resource
ful and masterful Miss Vanbrugh is supported
by Mr.. Ainley the young lover with fervor
naturalness and grace. The scenes between
them could hardly be played more effectively.
As Nr. John Hare is the Napoleon there IS
another exhibition Of finished acting As he !,
short Of stature it is not necessary for him to
create stage illusions as was done in Madame
Sans-Gene" when Sir Henry Irving's height
was concealed by the art OF the dressing room
and by the device Of raising the Empire fur
niture and having tall grenadiers and footnlen
IN the background. If he is short he is also
fhin and as he not taken the same pans
with the makeup" the resemblance to Napo-
leon is less striking than il was with either Sir
Henry Irving or Mr.. Martin Harvey. If the
representation IS unconvincing the acting Is
natural, polished. inventive in byplav and fun
OF resource. There are no great moments for
the Napoleon % this stage anecdote is not the
conquering soldier nor the throne shattering
ruler. IL is the Napoleon who concerns himself
With small matters. he did in life when he
took pains 10 cheaper a curtain tasseL In place
OF world 10 conquer there is a woman to
outInanoeuvre: and the battle OF wits is planned
as deliberately as a military campaign. There
afe passages - diplomatic hnesse; there are
angry outbursts and menacins gestures: he
cajoles. whoedles and DULLES her by turn. terri