The Washington herald. [volume] (Washington, D.C.) 1906-1939, 1907-10-06
NEW YORK THEATERS.

New York, Oct 5.-The latest play Of
Henry Arthur Jones is called THE Evan
gelIst,' and was performed for the first
time on any stage al the Knickerbocker
Monday evening, with the distinguished
author present in person TO lend eclat to
the occasion.
He was called out. too. between the
acts. but even with the friendly dispose
ton apparent IN the expectant audience
which greeted him cordially and sat in
respectful Judgment on the play, THE
Evangelist" failed TO arouse the interest
.of the same authors 'Hypocrites" at
the Hudson last season. II Is said that
Mr.. Jones had exclusive jurisdiction over
the composition Of the cast. II so. he
made a good choice in assigning TO How
ard Kyle the leading part-that Of Syl-
vanus Rebbings. the revivalist-and not
go good a choice in Dorothy Thomas to
Interpret the leading female role Of
Christabel Nuneham, the erring young
wife of an elderly husband.
The play has many OF the genial touches
which have made Mr.. Jones a famous
playwright. lie was never holder in his
sociological and religious announcements
than in this play. In it he contrasts the
practical Christianity Of the Salvation
Army. uplifting the moral derelicts Of
the darkest corners Of civilization, with
the ceremOnious emptiness Of the religious
court which surrounds the Lord Bishop.
But it is Just a little hard to reach an
understanding by easy stages Of Christa-
bells part as a wife who entertains secret
relations with another man, in the inter
esting ecclesiastic problems which the
author brings upon the taps. except as a
pretense for showing that this practical
Christianity OF the slums Is potent even
10 apply a cure TO the moral leprosy Of
this higher society.
In the part Of Christabel appeared Miss
Dorothy Thomas She is a young Eng
lish actress. tall, slender. dark, and beau
ufIl. a younger Mrs Patrick Campbell
/ IN many points save genius. Much Of the
failure Of the play to ring true was due
20 her inability to make Christabel seem
real. and it is hardly fair TO say what the
play might be with a more convincing
actress in the leading part
Howard Kyle's connection with the
play forms an interesting story. When
! Jones came over some time ago 10 read
the play 70 his American managers, the
difficulty presented itself Of finding an
actor suited 10 play the part Of the
evangelist. One after another was dis
carded as unavailiug or unsatisfactory
10 the author. Jones returned to Eng
land. leaving the dilemma IN statu quo,
while the search was continued here
without result. Kyle was tie last man
thought Of He was an obscure actor
who had been seen only in the minor
theaters. where he enjoyed q sort Of
vague popularity. He starred in James
K. Hacketrs production of John En-
mine" presented on the Stair and Hav-
I lin circuit under the title Of ION the
Yellowstone. He was capable. but the
I big managers knew him not
Ii was with difficulty that Mr.. Jones
managers were persuaded by an inhUen-
tial friend OF Kyle 10 consent % his
reading the part OF SyIvanus RebhiHgs
/ to them When they heard him. finally,
/ they cabled 20 Jones In London that
I they had found the man for the part
Would he hear him read it2 Jones cabIed
7 back that De would, and Kyle was sent
10 England 70 undergo the trial The
author WAS delighted, sent over an en-
thusiastc message Of approval Of the
actor and Kyle was selected over a
/ dozen prominent leading men who would
I have given their thumbs to be so for
tunate.
1t is worth recording that those p1r-
tiOns OF the play which are popularity
supposed TO give offense 10 religious peo-
I pie were most cordially approved by the
audience.
Within the recent ken Of man there
probably never VS. more general diver
/ s.ty Of opinion regarding the merit Of a
( play than In the case OF Edwin Milton
+ Royle's latest Offering. 1.-THE Struggle
Everlasting which has succeeded The
Movers" at the Hackett after that house
remained shrouded in darkness for a
/ decent period in token Of its penance.
The critics and the public are divided into
/ two camps, those who say it IS a good
I play, and those who say 1t is not. AS
+ in all extreme cases. the middle ground
/ is probably the correct one. 1t IS not
/ an epoch-making play. and those who ex-
( pected too much received too little. While
/ those who entered the theater in a duly
receptive state Of mind were not disap-
4 pointed
/ The author has simply gone about his
/ process Of rehabilitatug a Camille type
/ in a new way. He calls II a modern
morality play. The term should give
/ ofense to nobody in this age Of mystery
+ and miracles. From an aIlegoricaI first
act, laid IN the midst Of a wilderness.
/ where body is revealed TO mind In the
/ shape Of a beautiful hamadryad. who
/ swears a lifelong attachment, the audi
| tor is transposed into the practical real
/ tiles Of modern life.
! First a college club, next the gorgeous
+ boudoir Of the siren. and last. Minds
studio opposite the church, with reii-
/ gious chant breaking on the scene 10 the
strains Of q so1OTOus organ fifty ac-
companying the death Of Body.
/ only the first act mas the touch of the
/ Old morality play The next three are
/ as modern -- mes from "Zaza" OF
'Frou Frou.' Even In the deep morality
/ atmosphere Of the first act the characters
are modern. and they reappear under
conditions that make this alIegorlcal in
/ PRODUCTION seem a sort of dream. or state
/ Of subconsciousness, IN which the reIa-
ton OF Body and Mind are always under
/ the spell Of an intangible predestinatIon.
/ The play IS written IN a spirit OF IN
sparing analysis, and forms q strange
fusion Of the metaphysical with the hard
/ facts OF modern life. For the best part OF
/ the evening IL exercises a sort Of hyp-
motto interest largely due 10 the graphic
/ power OF the Characterization Of Mind
and Body and some Of the minor figures,
and not little to the admirable acting
/ Of Arthur Byron as Mind and Florence
/ Roberts as Body The play may or may
/ not take with the great mass Of theater-