Evening star. [volume] (Washington, D.C.) 1854-1972, 1909-11-28
would be pleasant thing to be able

,,s,o rrheater last week. if il could De
aone NTH confidence But at present its
future is as uncertain as that OF minor
ROYALTY in Europe. There is a lingering
element of suspense about it, me plot Is
clear. the costuming gorgeous ana the
lines lucidly humorous. But the music re-
mains mystery.
There is no doubt that Herr Bryk pro
nounced Brick knows his business. But
the difficulty is that he knows it in Ger
man. His Interpretation of the score
Monday night was necessarily lacking IN
the light felicity which in a musical pro-
duction of merry purport is essential. IL
would be a presumption to say that the
music was not good, for it w"s not heard
Rut there can be no hesitation in saying
that IT did not sound well. 1t seems alb
solutely necessary for the company to
learn some German or for Herr Bryk,
whose first name, SO far as this particular
enterprise is concerned, might with pro-
priety be Gold to learn some more
English. The reputation Herr Bryk en-
Joys as a musician in his own country
would have made 1t gratifying prlvi-
lege to welcome him as an addition to
the musical forces of this country. Had
he been engaged in the conduct of a work
of strictly musical character he would
have been more at home than in pro-
duction In which the readiness to take up
cues and the ability to accommodate
tempos to the moods of the performers
are as important as 'musicianly scholar
ship.
The king of Cadonia" was a great
success abroad. 1t illustrates differ
%In E,rro-
pean taste. When audiences here attend
musical performance they expect it to
be very light or exceedingly serious. In
England the introduction of grotesque eff
fects in the elaboration of a normally ro-
mantle and dignified theme, taking this
piece as criterion, is not resented. In
terest waivers SO constantly between the
fine and essentially legitimate picture OF
a princely hero given by Mr.. Melville
Stewart and the genially absurd comedy
delineation by Mr.. William Norris that 1t
is difficult to select and consistently follow
out a theme of consecutive interest 1t
is too dramatic for a farce and too ire
sponsible for drama In the event OF
its success-and its series of more or less
experimental presentations in this city af-
fords no basis for prediction-it will have
to be assigned to distinct class of enter
tainment.
The company presenting the musical
piece was remarkable for it's contrasts
of exceptional competence with obvious
inexperience. Several changes are re-
ported as under contemplation, one an
nouncement being that place would be
found in the cast for Marguerite Clarke.
Baltimore will have the benefit of much
experience gained by the company during
its Washington engagement, and. after
Baltimore, Pittsburg and Philadelphia will
provide more opportunities for prepara-
ton looking to a New York run.
With a less competent cast, 1.-The Bar
rier'' would be unmitigated melodrama.
There is gun play in every act and emo
tional thrills in every scene. But it Is
SO unwavering in its purpose, SO strictly
held to its story of strange events among
strange people that the play becomes an
impressive experience which gathers new
and stronger appeal as memory revives it.
1t has no comedy relief and therefore can
find no place In the esteem of patrons who
care only for the theater's mirthful side.
1t is strong, sonber and sincere. 1t
takes a grip on the feelings. which even
the moments of artificiality which must
intrude in every performance cannot re-
lax. Mr.. Hart gives a picture of the
white-faced, soft-handed sharper which
challenges Frank keenan, in a field that
seemed peculiarly his own. Mr.. Roberts
plays with depth of feeling that few
actors of the present day can equal, and
even the minor male roles developed the
powerful human quality which convinces.
Some of those connected with the play
expect it to rank another Arizona"
1t merits more than that. 1t should have
recognition distinctive creation,
maker and not follower of precedent.
PHILANDER JOHNSON.
VAN BIENE.-Auguste Van Biene is
q native of Holland and a musician from
babyhood. At fifteen years of age he
played in the opera house at Rotterdam.
A year later. in 1867, he and his cello
journeyed to London. full of hope and
aspirations. For while he met with no
encouragement or recognition. and was
obliged to play In the streets to earn
enough to keep him from starvation.
One day the famous Sir Michael Costa
heard HIM play along the curb. and. ques-
tioning the lad. found for him position
i'll the orchestra at Covent Garden. He
continued there for something like ten
years, with occasional engagements with
Patti Christine Nilsson, Irebeln and
others. In 1881 he was musical director
at the Comedy Theater. and there pro-
duced La Mascotte,' The Grand Mo-
gull 'Boccaccio.' rip Van Winkle,'
"Falka "Erminie" and other famous
musical plays.
He then turned actor as we'll as mu-
stefan, and starred in musical versions of
RIP Van Wrinkle and 'Falka, after
which lie secured THE Broken Melody.
He is now starring in THE Master Mu-
sician.'' written for him by Thomas
Brodhead.
THE ROLE OF AN AUDIENCE
The part which an audience plays in
the success or failure OF play Is one
that is rarely appreciated by the great
majority of theatergoers. In a farce COM
edy where the points and situations are
often subtle the success of the piece can
be said to depend upon the work" done
by the audience almost much as upon
the cleverness of the authors or the eff
forts of the players.
Laurance Wheat. who Is playing the
role of a fresh college boy in Going
Some" describes the part the audience
MAYS In the successful rendition OF the
play.
After a performance of Going Some :"
says Mr.. Wheat, II feel certain that the
audience itself has expended more energy
than the actors on the stage. They have
uorked ont the situations for nS fhav