New-York tribune., 1909-04-20

advances. ceases TO be comedy. She is a pathetic
figure eumeshed in the hunters tolls Yet pro
tected by her own purity. Never has the screen
scene been more delicately played and never
has Lady Teazles contrition seemed more SIN
cere when her hiding place is invaded and she
stands before her husband Inundated and con-
vcted OF folly.
With the exception OF the Teazles, there are
no departures from the stage traditions of this
famous play. There is a superlatively good cast
Miss Ellis Jeffreys Lady Sneerweu acts with
brilliancy and distinction and seems as much
at her ease in an eighteenth century drawing
though she had stepped out OF one OF
Sir Joshua's frames. Sir Benjamin Backbite,
with mincng gait, painted face and affectatlons
OF manner, is most ceverly impersonated ny
Mr. Esmond, and Mr.. Edward Terry is a robust
and delightfully."- humorous Crabtree TWO vet
erans act with the vivacity Of youth-Mr- Lionel
Brough as Moses. and Mr.. Herman Vein, as
Rowley and Mr.. Henry Neville is hale and
hearty Sir Oliver Surface. Miss Suzanne Shell
don as Mrs Candour wears her costumes as
though she had been born in the Georgian
period when decoration fine art. Subtety
may be lacking in Mr.. Basil GilTs refined and
elegant Joseph Surface. who imposes upon the
TeazIes almost too easily, since his faithIessness
and hypocrisy are mainly left to the imagina-
ton Mr. Robert Lorraine is more successful as
attractive sea apegrace without utterly sacrificing
rnanliness and character The auctioning Of the
family portraits would be more effective If It
were conducted in the presence of the jewellers
after supper. as Sir Charles Wyndham has stage
managed the scene. but the representation as
whole is spirited and brilliant
Strong as is the cast and perenniall-- fresh
is the satire on the vices and foIlies OF fash
ionable society it is the unrivaIed series of
eighteenth century stage pictures with the har-
1nonious schemes of color, which remains the
chief attraction The decorations of once famous
houses such as Lauderdale and Chesterfield. arc
reproduced in detail. and interiors frightened
with French taste are furnished with tapestries,
Chippendale and gilt walnut as in hygone days.
Stage management has completed the pictures
by dressing the actors and actresses in the cos
tunes OF the time and training them in the So
ciaI affectations and Caprices Of Georgian fash
ion. The production leaves nothing to be de
sired on the pictorial side, and the players have
succeeded in projecting themselves into another
age and in avoiding the appearance of a the
atrical masquerade To see these gallants and
gossips in their brocades and silks. powder and
matches, as they tap their snuffboXes, step from
their sedan chairs, firt with fans, aces ard
ernine mufs: dismiss their perruquiers and
flower girls pet their pug dogs and crack their
bottles together is to know what the eighteenth
century was like Up go the mems swords in
the minuet and under them glide the matrons
and bellies in their paners and roses and de
spite the artiiciality of the comedy they are all
human beings in love with pleasurable excite
fashion and in keeping up with the best people
in sight L y F.