Evening star. [volume] (Washington, D.C.) 1854-1972, 1909-12-26
ADJUSTMENTS.


magnificent assemblage. not only NJ
enects In stage architecture and gorgeous
ly costumed people, but of ideas. Was
revealed when "Herod" was presen,ed .,
the Belasco Theater last night. Stepben
Phillips. though familiar i'm the library.
has not made his work as a playwright
so well known in this part OF the world.
Even now he speaks rather az a poet
than playwright. the ingenuity of his
situations, the intensity of his china xes
ana his fervent diction being all subordi-
nate to the central thought; a revelation
OF human anection so complete that il
CROWDS out ambition and survives scorn
ana even madness. Herod and Marianne
have been favorite characters with
writer's who love to vivify and round out
history and tradition with their own
imagfnings. Mr.. Phillips succeeds in Civ
Ing to each an identity apart from all
others.
The curtain rises on a wealth of Spec
tacular detail which dazzles the senses
As Flaubert daxzles the mind in his de-
scriptive opening OF Salammbo. The inn.
preston arises that II 10 to be a spectacle
and nothing more. and yet 50 COM
plete q spectacle as to be worth the
while. But before the central characters
have exchanged half a dozen speeches
q play of subtle thought In set UP, and
the interest intensif1es until the terrific
elimination, which arrives with the over
whelming "reminiscences OF Grecian tras-
edy.
The great audience hall of Herod is the
only scene used in the play. But atten-
ton becomes too closely occuuied with
the events which the poet has woven
with such vigorous fancy and voiced
win SO much eloQuence to permit the
eye to search for scenic adornmeuts.
These are. indeed. supplied by an array
ings, but material considerations, how.
ever much they may contribute to the
impression, are constantly and com.
pletely subordinate.
William Faversham, who in his early
career charmed. playgoers with his easy
grace I'm q lighter vein, and later proved
his enctency In scenes of serious emo
ton, has in this play attained a height
which even his warmest admirers never
expected him to reach. Julie Opp has no
less efhciently risen to the possibilities of
q brilliant opportunity. The triumphs of
both these players have been abundantly
announced, and for once the customary
note OF exaggeration has been found TO
be absent.
Mr.. Faversham's Herod Is a picture of
kingly dignity and yet a creation Of warm
pulsing humanity. The reading of the
speeches in his part is finely executed,
Will nOHc OF TIE evolutionary mOnOtOny
which SO frequently occurs when a player
finds himself 'ntrusted with poetic forms
of speech. Miss Opp is no less discreet
IN defamation, and impresses more by
subtle suggestion than by demonstration.
She is beautiful to look upon. and con-
vincing to the intelligence.
A competent cast has been engaged for
the production. Mr.. III. Cooper Cliffe a.
Gadias. the willy and INSCRIPTIONS chief
councillor, and Mr.. Berton Churchill as
Sohemus. a Gaui. are among its more
noteworthy members.
The love of Herod for Marianne, his
jealousy of her brothers increasing power
with the people, his helpless devotion to
her even when he believes she sought TO
poison him In revenge. for her brothers
assassination and his prostration both in
mind and body when he learns Of her
death by her own hand. all these things
and more are told with wonderful I'm
pressiveness. The production il a work
in which the poet and the actor blend and
concentrate their highest powers.
An enthusiastic audience insisted on cur
tain calls. which. much as the compli-
ment to the actor was deserved. were to
be resented as Interruptions in a produc-
ton whose symmetry and consistency
should not be disturbed by reminders OF
the mechanism by which they were
achieved. However. Mr.. Faversham may
doubtless be regarded as having done his
full duty In making so remarkable q pres
entation without undertaking to arbi-
trarily decide the very old question Of the
propriety of curtain calls