The Washington times., 1908-03-01

of the 81 90 witnessed the prOduC-
ton. WITH Oh new role Mime. Kahchs
place in the dramatic world becomes
more firmly established. "a place which
has been occupied by few indeed Of
Americas emotional actresses.
Nine. Kalich has developed wonder
fully in poise and in technique since she
first came 10 us in Norma Wanna. 30
There is greater sureness in her meth
DDS, and her voice, which three years
ago was harsh and discordant, is to-
day almost entirely free from accent
and has a peculiarly weird quality
which leeds itself admirably 10 the III
depreciation of roles in which strong
passion and deep suffering are to be
depicted.
Her Emphasis Not Unreal
Nine. Kalich has a racial temperament
which lifts her above mundane delinea-
lions into the realm Of psychic interpre-
tation. Her emphasis Of certain phases
of character seems truly to intensity the
appeal without marriug IN the slightest
degree the naturalness of a role where
as many of Nine Kalichs contempt
raries In giving that imperceptable but
necessary eXaggeratiOn to a character
fZatiOn. rob the representation Of all its
spontaniety and destroy all its har-
mony.
In Marta of the Lowla1ds" there is
less Of the tragic element than in any
play in which Nine. Kslich has APP
peared in Washington previously. Her
most effective work is seen in the sec
oud act In which her confession takes
place. Those who witnessed this scene
and who also had the privilege Of see
ing Mrs. Fishes confession scene in
the third act of "ROsmersholm." had
an opportunity TO study two methods Of
INTERPRETATION dramatically opposed 10
each other. yet each carrying with II
absolute conviction and each adapted
with rare insight TO the requirements
OF the respective roles. In Mrs. Fiske s
confession we have the story of the
woman OF the North. who, realizing her
objectionable sin against society and
against Spiritual Law, does not plead
for mercy, nor expect forgiveness. IN
her narrative one saw reflected not
only the bitterness Of per sonal defeat,
but also the pride of viii and the un-
conquered something which she Sun
pcssesses that something which we
know as the elemental germ of woman
hood.
Narta's Suffering Not Poignant.
In Marta's confession we have some
thing of the suffering Of the dumb
brute She feels deeply rather than
keenlv and there hangs over her the
gloom Of utter loneliness OF spirit and
craving for an unrequited affection
She has not the mental capacity which
finds any compsnionship within herself
There is not in evidence. however, thai
most exquisite agony which is the heri-
tage of those wtO know the highest
civilization. and the highest mental de
VelOpment
The two women are prototypes OF TIVE
epheres. one OF thought and feeling OF
the heights of mental attainment, tn
other in the lowlands Of primitive emo
tiOns.
To me there was not more euecuV'
hit of actiog in the whole play than IN
mute suffering OF Marta as she wen
about her housewives duties prepaf
ing the daily meal and not making an
pretense at trying to conceal the leaoel
sorrow which weighed upon her spirit
There WAS a dignity about this Howl
wCman's grief that was felt raLne
than perceived
Story Of Silent Grief.
There was not in Tie role OF MART
an opportunity for Nine. Kalich 10 ris
10 the nne dramatic heights OF de
asoniRcaI rage which made her las