New-York tribune., 1907-12-01
LONDON DRAMA.
4 French Masterpiece Worthify
Reproduced
London Nov 12.


fits Of the new order of reciprocity and cordial
,.v n Bernsteins lie Velour" has been almost
Eterallv translated by Mr. Cosmo Gordon-Ien-
nox and produced with complete success at the
g. Ta77es's Theatre. Adaptation has not implied
reccnstruction. clumsy patchwork and hollow
COMPROMISES with what Mr.. Cecil Rhodes de-
srrihed as -unctuous rectitude" In form and
spirit the play has been transferred from the
Renaissance. where IT received as a mas
terry work of emotional drama, to an English
theatre without being mutilated, Inarred and
r1isinterpreted. Such slight changes as are
made. and there is in the final curtain are
complimentary TO French playgoers since they
are credited with quicker discernment Of situa-
tions and keener power in drawing differences
than the English pit and galleries. A play con-
spicuouS for deftness OF construction and per-
fection Of finish is not spoiled by adaptations to
duller sense OF the theatre and clumsy de-
vices for making what is subtle easily intelli-
cible If The Thief" at the St Jalnes's. seems
al moments artificial and stage-nade it is be-
cause the characters are essentially French
and out OF place when masquerading in an
English country house. They not only require
their atmosphere, but also the French
methods Of expression, rapid defamation. vehe-
rnence Of gesticulation and genius for posing
for dramatic effect There are trained artists
in Mr. Aexander's company but they are all
uncoInpromisingly English; and while their
work is most admirable in technique and feel
ing something is lacking which was not missed
a. the Renaissance. Partisan millinery can be
initiated il London shops but French roses
with natural tinting and perfume grow on the
home soil
As Mr. Bernstein's stirring drama has been
described in detail in The Tribune it is only
necessary TO summarize situations for the sake
Of explaining the English acting It is not de-
tective story. but a play involving two cases
Of circumstantiai evidence pointing in each in
stance guilt when the accused in reality is in
nocent. At the close Of the first act q mysteri-
Gus guest at Raymond Leyton's country house
* revealed as a detective employed in investi-
eating robbery. and the hosts young son is i'm
pIicated as the criminal, and confession is
forced out OF him. In the second act there is
= prolonged scene in boudoir during which a
visitor. Richard Chelford. discovers that his wife
has been stealing money from the careless host
in order TO pay her dressuaker's and mil
liners billk- She does not deny that she is the
thief but with passionate intensity asserts her
innocence when he charges her with being the
mistress Of young Harry Leyton. who had
shielded her by making false confession In
the third act the husband is convinced of his
wifes unfaithfuness when she impulsively pro
claims herself the thief, vindlcates the boys
honor and prevents his exile to Brazil. He ab-
ruptly changes his mind when she asks her hus-
hand TO call in the boy and cross-exanine him
in her presence. AS a convincing proof OF his
unfaltering faith in her innocence. Richard Chei-
ford leaves the room and allows his wife and
young Leyton 10 say farewell alone. This was
the final curtain at the last dress rehearsal but
al the opening night il discarded on the
ground OF anticlimax and the reconciled hus-
hand and wife exhibited in each others
ar7as-a more obvious but less artistic finish
The acting while less intense and theatrical
than in Paris is brilliant and moving MI
George Alexander and Miss Irene Vanbrugh. as
the husband and wife. attempted at the repeti-
lion gknkrale 10 reproduce the storm and stress
~ the original Renaissanl second act nut me
hurricane of passion and emotion wrecked ther
voices and left the audience GREATNESS anu
overxrought- On the following night thes
rlaved more quietly and with superior suptiety
and made 4 profound impression In the open
iHg passages they were equally dehghlluI III
their playful banter, fascination, tenderness and
cbsrU Her work then became more subtle
hscause she had to create truthful impressions
without revealing the plot preTnatureN- ~ 'ie
devoted wife indifferent 10 attentions except
from him. she could put aside her SoulIici
adorer with gay railery and arliaole cnaliii1e
without rnisinterpreting her real characueI' ye'
was constrained to leave groULio AOi N4'0
sz,suicion that he was an accomplice IN roODeis
and scandal When the detective was uifdNe'-
ling mis- ggein of evidence she could denote ps
restless movement. uneasy glancSs ailo Al
creased color her own guilt; but this coulo ho'
he 81 oh,yio,ls as TO discredit young Legion
confession or TO spoil the surprise OF the secohu
act when she was disclosed as the reai e4ie--
In .be s,rea: scene she was most natural anG
intense IN her hysterical attempts 10 a|oiu
posure to explain her thieving as d resource
for retaining her husbands admirauol' Gnu
convince ftr, of her loyalty him Rarely
has an audience been more deeply moved tlah
bv her anguish and desperation the yearnihs
in her eyes for restoration OF 1aiih anu
thrill of entreaty in her voice for forgiveness
II was great acting with fine variety OF piaS
and SO WAS Mr. AIexander's- The onrush OF
tealo,,s s,,vricion the bewilderment OF DOUBT
the distrust of MS own powers OF Resistance
yhsn he 7id NOT venture to look al her. and the
inaexfble win with which he forced hinseh 10
vs+c, he, l;te q detective when she was on the
rack o,,ivering with excitement, were Indicated
with re<,,rceful pover and refinement OF
rns,bod Foacr7 os these brilliant performances
was srr,rce of inspiration for the other
An sr,nersonatiou more convincing in natural
ness .b., either Marise or Richard CneIofo
Was Harry Tavtou the youth SO Infatuated
with 1,,,s ,,s. he could confess to being thiei
AZ a r,on,en..s notice Bir. Reginald owen is d
Young actor and his inexperience mas pee''
helpful in po-traying the awkwaroness' beoi'
ton confusion and irnpulsiveness OF the ioNe
sick boy In its simplicity and sincerity IL "ta0
q moving and pathetic performance that Haoe
the scenes intensely real aLc oeepiS slit00'-Ie