New-York tribune., 1908-01-12

waning The Sleeping Beauty" Cinderella"
Little Red Riding Hood and "Bluebeard'
still remain household words IN France Nine.
Sarah Bernhard delights in fairy tales. She
now realizes her longing desire TO appear in one.
She said to Edmond Rostand shortly after her
appearance in "Aiglon': DO write d play FOR
me- somewhat on the lines of your 'Princesse
Lointaine' hut still more like a fairy tale"
Rostand took kindly to the idea, and set about
writing "Chanteclar." in which all the charac
ters are birds and fairies. but which is still
finished. Last year Nine Sarah Bernhardt, dur
ing a dinner at which the poet Jean Richepin
was present. turned 20 the author of Che
mfneau' and said, mo one can present fairies
and elves in more graceful verse than you: now,
why won't you make fairy play for me-" The
result is La Belle au Bois Dormant" which is
an accurate stage adaptation in poetry and
music of Charles Perrault's fascinating nursery
tale.
It is needless to repeat the story of the
Sleeping Beauty" which is familiar to
children in the United States it is to the
young folk in France. As a play it has the
aroma of Aristophanes with the romance of
Rostand. The prologue opens in an enchanted
forest with spirited dialogues between three
fascinating frogs, a facetious magpie and ven
erabIe owl; and, contrary to popular notions.
the magpfe is the least lcquacious of ali. Glib
RUS the kings chamberlain. arrives in quest
of a good fairy who is willing TO stand god
mother to the newly born princess Two good
fairies are forthcoming, but Carabosse the
wicked fairy who is neglected. vows vengeance
A clever transformation effect brings to the
royal christening The good fairies bestow all
sorts Of nice qualities upon the baby princess.
but the wicked fairy pronounces spell accord
ing to which the princess IF pricked by thorn
or any sharp instrument before she completes
her sixteenth year must perish The authors
here place the symbol itself side by side with
it's alegorical equivalent. which is that of fall
ing in love.
The play now leaps forward sixteen years,
TO be accurate fifteen years eleven months and
twenty-nine days. We find the beautiful prin
cess in A feudal castle from which all pointed
instruments, twigs, rosebushes, etc. have been
removed She is surrounded by a bevy of six
teen girl companions, who romp. play, dance.
chatter and sing 1t is a beautiful picture cf
Youthful innocence and maidenlike mirth. 4
merry girl SAYS L saw two butterflies playing
together" What game did they play asks
another. Il don't know: I could not quite un-
derstand: but it sort of hide-and- SEEK
Another bright eyed girl says Il saw two doves
babbling and tattering and telling each other
secrets they said, 'Cougrou. Cougrou,
chorus Of ~Cougrou. Cougrou:" The princess
finds tall ladder resting against tower left
there by the worknen who have been removing
rosebushes thorns and nails. She climbs the
ladder while her sixteen companions sing plain
tive songs 10 the accompaniment of Francis
Thome's plantive orchestraton of yoIins and
flutes.
Another change of scenery reveals large
garret beneath the roof Of the tower -he prin-
cess appears at the open window. The young
poet Landry (Sarah BernhardtJ is talking with
his grandmother (Anna Judic). who is engaged
in spinning yarn, The princess pauses at the
sill with a gaze that expresses establishment
mingled with curiosity. She notices the hand
some young poet. She murmurs TO herself i
don't quite understand but l know that pigeons
talk 10 each other" She looks at the already
enamoured Landry and asks What Is your
name" Landry What do you do? Are
You a minister" No. I am a poet" What
is a poete" Playful innocent billing and cuoing
ensuea between the two human pigeons. The
dialogue is charming. and is eagerly applauded