The Washington times., 1909-04-27
Pretentious Program Out
lined for Week of En-
IL gagement Here.
"RICHELIEU" ROLE
GIVES CRITERION
Performance Presages Brilliant
Array of representations in
Rest of Repertoire.

at the Belasco Theater by Edward II.
Sothern. In the course of the week
this actor-whose endesvors surely
justify more hope than those of any
contemporary of our American stage
will act "Richelieu," Lord Dundreary
in Our American Cousin" Mr.. Nc
Carthy's romantic play OF eff 1 Were
King" and Hamlet" and in the per-
Torrance last indicated he will ASSOC
ciste with him Miss Julia Marlowe.
His opening bin was "Richelieu." and
production and audience equally bril-
liant gave the week every presage OF
success.
Mr. Sothern has in twenty-five years
achieved two rare distinctions-he has
overcome the handicap of the great
name he inherited from Edward A.
Sothern, and he has steadily advanced
from the field OF sugar comedy TO act
in the noblest tragedies of literature.
Year by year he has studied diligently,
until today he has q literary and criti-
cal understanding of the drama beyond
that OF practically all of us who under
take TO appraise him. He has never
ceased to be earnest. from The Highest
Bidder" to Hamlet. And these two
qualities of scholarship and sincerity,
being united with a manly presence, a
musical voice, and splendid technical
aptitude, have widened his auditory so
far that now his most substantial pat
ron3Ee is that vouchsafed when he I'M
dertakes the role with which his bril-
usntTsther's name is most anectonate-
~ coupled.
RicheIieu New Role.
Richelieu is for Mr. Sothen a new
approximation He chose it, no doubt,
because the role. glozing history. re-
auires the representation of supreme
mental force in a weakened body, the
manifestation Of almost unlimited tenn
poral authority Zone OF the most diff
fcult tasks the actor can undertake.
in the robes Of q priest. the interfusion
Of some quality of naturalness in lines
as stiff as were ever written and be-
cause il offers Mr.. Sothern himself oc-
CasiCn to gauge his own achievement
according to such measure as tradition
and stage records afford Of the best
acting Of Macready, Forrest, and Ed
win Booth
The choice can hardly prove one of
the inspirations of Mr.. Sothern's career
essence OF ErandilOquence. There are
some Of us who feel that dramatic art
never comes fully into her own save
when she speaks of CHASTITY ven
whose cry could drown the thunder or
frenzy that peoples the void air with
it's own phautoms. But that number
fortunately for the stage is lessening
art the clearness OF nature herself; we
are swinging from DR.. johnson and
toward Lord Tennyson: we are coming
10 admire Shakespeare as a searcher
Of hearts rather than as a constructive
dramatist, and as a poet for his imag-
nation and imagery rather than for
his heavy phrases and prolix discourse.
''Richeueu'' is the proper mate 10 The
Lady of Lyons" and Earnest NAL
traverE." and 1t reflects precisely the
standards Of the stage in the day OF
Macready (for whom II was written,
and nothing better.
Not Adapted To Role.
Again, the part is not one with which
this actors talents are now most spe-
ciaily fitted TO cope. Mr.. Sothern has
at this time that ability which the i'm
persouator loses earliest and prizes
highest-the ability 10 act youth. HIS
Hamlet is perhaps the only one now
offered on our stage whicn impersonates
Hamlet, the youth and not Hamlet, the
aged. in the court garb OF the young
He could have come 20 Richelieu. in his
hfty-seveE years, later and acted II at
least as well. If not better. AS he does
IL now, his embodiment very naturally
lie could have come to Richelieu in his
role and sights those outward signs Of
one
-bIsnched and scared
Before my time; breathing an air of
Ano seeing daggers in the eyes Of men.
This is a Richelieu who bears a charm
Cd life. as De Mauprat says. But he is
charmed IN being as robust as Il camp
trained soldier, not as being secure
against mur'ierers and conspirators
while he blanches the strength Of his
aady in the hot-house OF palace.
Thus much has been written on the
assumption that Mr.. Sothern as the rep
resentative actor OF our time is entitled
10 the best Judgment OF the critic But
II should not be allowed to stand alone.
For l9st night IN the estimation Of
an audience representative Of the high
est American culture, this enactment
a nd this play aroused unmistakable en-
fhusiasn. In one box sat the Presi-
dent and Mrs. Taft. Near them were
dozen frequent patrons Of Washing
ton theaters known the country over as
leaders I'm society. A blind Senator So (
in he parquet and manifested in quick
play of facial expression that there was
for him a full revelation of Bulwer's
purpose in the emphasis and infection
df the actors. Indeed, the attitude OF
the audience generally was that OF per
sons following with the utmost atten-
ton the trend OF events for its own
sake and no company acting such A
play could hope for more distinctive
compliment
ASsociate PLAYERS and production
were alike satisfactory. Here was one
Performance OF ''Richelieu' where the
soldiers did not appear 10 be supers,
and the suppoSltioual nODleS OF France
did not bear themselves like schOolboys
speaking pieces. Three parts lift
above the ofhers-the cardinals conf
dante. Joseph. effectively acted by Will
liam Harris: DC Mauprat. impeTsOnated
with spirit By Frederick Lewis: Julie.
Sweetly and forccfuliy embodied in the
person OF Miss Gladys Hammond. Mr..
Blackstone was court clown OF an ac-
custOmed though successful type, and
Mr. sydney Mather did no violence 60
the role OF the weak Louis XIII All
the company read their blank verse
clearly. and except for occasional I'M
certainty over their French were fluent
and fairly forceful.
But "Richelieu" is one-roIe play.
As the protagonist is acted so is the
quality or the performance determined.
And Mr.. Sotherns production undoubf-
eddy gave his large audience OF last
night deep and lasting pleasure. Yet
wen tonight he undertakes the appar-
Satlv shallow role OF Lord Dundrearv
and when on Saturday night ne pre-
sents again mis- vigorous conception OF
Hamlet. he cannot fail to find in those
two widely different tasks greater op-
portunity and superior effectiveness
Natural emotion is not voiced in ailu-
sions - classic characters, nor does
character often sneak I'm bOmbast Our
tongue can be best employed on the
stage in terms a. simple and in figures
- natural as those Of Tcunyson' :
the fr 81 flso HaI.f