The Washington herald., 1909-11-07
THE THEATER IN NEW YORK
FRANKLIN FYLES ENTERTAINMENT CHATS OF THE
LATEST PLAYS ON AND ABOUT BROADWAY

ten accord with their conception. Sutro
meant the builder OF bridges TO be a man
Of more rugged worth than sentimental
woolng-e sort of modern Ingomar en-
chanted BY a present-day Parthenia, but
the right actor for an Ingomar In a
starched shirt and creased trousers was
not available. so we have instead the
suave. politely dignitied Bellew, smooth
ing and polishing the fellow into draw
ing-rOOm gentleman. The actor does IL
so WELL too. that scarcely one observer
IN a thousand will guess the author in
tended another kind OF characterization.
You know Shylock was played under
Shakespeare's management by Comed-
ans for merriment mainly, and wasn't
dignifed by a serious performance until
a century later Nobody knows which
way was intended by Shakespeare when
he wrote the part We can but guess at
it. May be that. having popular low
comedian at hand for the role he gave
up the original design Of Shylock and
let him go for fun because that way he
would bring more money into the Globe
Theater. For like reason. Sutro may
be content with Bellows artful change
OF the bridge builder from an Ingomar 10
an Admirable Crichton.
'eHerOdv n Great Pageant.
While the first performance IN this
country OF "Herod" was reminding ad-
miration for stephen Phillips. he was
passing through bankruptcy as the result
OF fifteen years devotion to the loftiegt
literary creation. wallace Irwin is tie
only poet who owns an automobile. Yet
'Herod" is too grand an achievement TO
admit Of such mundane by-thoughts. And
William Faversham's production Of 1t
and performance OF the chief role arouse
too profound a respect-if hardly COM
plete satisfaction-for one 20 indulge in
tlippanCy. Faversham proclaims noble
ambition more eloquently than he could
in words by the fact OF producing a great
tragedy OF doubtful commercial value
when he might be making sure money
with romantic melodrama. The single
/ scene-the audience hall In Herods pal
ace at Jerusalem-ls a labyrinth OF steps
Of gold, Of parapets OF pillars. Of bronze
/ doors. and, beyond. an expanse of land
| scape seen under the changing lights OF
night and day Beautiful IN color. varied
and eloquent OF infinite research are the
gowns, the royal robes. the priestly vest
ments. and the jeweled armOr that clothe
/ crowds who people the scene. But the
/ most admirable Of them all. 10 an OBJ
| server versed in stage effects. Is the va
/ riety and meaning Of the many pictures
/ and pageants introduced into this single
setting.
Phillips "Herod" is the only play in
which he has sustained that unity OF word
/ and action which eluded such great pred
| ecessors Of his. when writing for the
| stage. as Tennyson and Swinburne.
Reading this play. one might discern that
/ rare quality seeing Il performed, one Is
! convinced. The poetry Of II Is not par
/ celed into semi-detached passages. Ike
/ the songs in a comic opera, but is part OF
/ the rich weave OF the fabric. as with
a Wagner music drama "Herod" would
/ seem 70 be too easily available 70 readers
| TO be unfamiliar; yet Il is not ten years
! old, and contemporary poetry travels slow
/ ly. So I may quote. as an example OF
/ genius, such a creation Of atmosphere as
/ this;
And all behind him is
/ A sense o. somethiug coming on tho world
A crying % dead prophets from their tonbs.
singing q dead poets nom their gaves.
Last Act Swift and Brief.
: People who have read "Herod" may
4 caro- 10 know that. on the stage, the last
act is swift. brief. and memorable And
. here Faversham, somewhat overwelghted
with the elocutionary requirements Of the
I earlier portion. rose splendidly TO his
task. Herod gone mad from remorse. for
gets the very cause Of 10. and repeatedly
demands that Marianne come before him
/ Assured that she sleeps. he IS at first 50
tender of her that he viii not have her
Weakened. The court Is assembled, dance
and music are employed in vain TO divert
the broken mind from its one desire. AT
/ the foot Of his throne messengers from
I Rome kneel IN homage. But the only
value OF his triumph 10 him Is 10 lay II
/ at the feet Of Marianne. The wild mind
| conjures up the glories his might
I can master for her. One speech alone
! tfat beginning: 4 dreamed last night OF
/ a dome OF beaten gold. TO be counter
! glory 10 the sun'-rises 10 a height OF
| imagery and sweeps one upward in a vol
| ume Of sonorOus music that in English
! drama Is almost undiscoverable outside OF
/ Shakespeare
( At the last-one touch on the cold fore
/ head-and the king becomes rigid and
/ powerleSs 10 speak. Shrinking away. the
! court leaves him alone. a terrible figure
! as he stands paralyzed above the dead
| Marianne. FRANKLIN. FY1Es.