New-York tribune., 1909-09-21
THE DRAMA
Margaret -Anglin as Helena Richie
-lfrS. DeIand's NOUeI Dramatised.


Savoy Theatre. The occasion of more
than common interest because this favorite actress
appeared under her own management and in
dramatized version Of one OF the best Of American
novels Barring a few out-of- town performances
which last week served dress rehearsals for
the metropolitan event the adaptation Of Mrs Mar
garet Deland's novel THE Awakening of Helena
Richie" was then on the stage for the first
time The result was a brilliant triumph for Miss
Anglin.
Mrs Deland's novel has been before the public
three years 1t has been much discussed for its
problem" and widely admired for its delightful
art no than for the interest its story which
is told with skill of high order and a charm
that never falters fades. 1t contains several
dramatic incidents which might well attract the
thought Of playwrights and Of and actresses
With its moving and thrilling incidents il teaches
without preaching. and strs the reader TO laughter
and 10 TIL task Of transferring all these
qualities and powers from the book to the stage
would be difficult enough even for the foremost
contemporary dramatists. native or foreign Miss
Charlotte Thompson. who has made a play out OF
the book, is not dramatis. of this order She has
however, done her work well, not with great
distinction She has been skilful in condensng
The first three acts contain so much OF the spirit
and SAVIOR Of the book that the spectator who
knows the novel IS favorably impressed. But the
last act falls away. as last acts too often do. Here
IS where playwright and actress do not quite Join
hands. Perhaps the playwright has not in the
final scene given the actress quite the right oppor-
NJ
Helena Richie. Perhaps somehow, in such oppor-
tunty as comes 10 her then, Miss AnRliu docs NOT
quite suggest that stirring OF soul or the ef-
fects OF its illumination. In such a difference
subtle il is, lies at all times the difference be-
tween really great acting greatly sustained and
acting OF great skin. Miss Anglin's Helena finds
happiness. but would she convince Mrs Delands
Or. Lavendar that she has found her soul?
But there is scene in this play in which Miss
Anglin, by the might Of something closely kin to
enirfe hes Tfa haavs
spectators imagination. There is a moment which
seems chapter in lifetime. when the beholder
forgets the stage, the play the book. old Chester
and himself, and sees only. thinks only. OF Helena
glorihed by suffering haying herself by confession
The audience is hushed drawn out OF itself by the
power Of an illusion which IS almost perfect The
curtain falls in silence. And then the house be-
comes again conscious OF itself and fings forth
cheers and applause until wearied by the exer
tion. 1t has been stirred by flashes Of powerful.
penetrating acting
The play written for this scene. no doubt
No one could do more here than Miss AaeIin does
Here is the climax Of the performance. Love and
tortured memories, hope and despair, anguish that
shakes the foundations OF a life. and crushes pride
and selashness-these are here. and the crowd is
smitten dumb Helena Riches emotions are on the
rack They must be disciplined by woe ere her long
silent soul finds way 30 announce itself
After the fire the still. small voice
After this fire of the emotions. in this play the
happy ending Not. Of course. The reunion of
lovers, for that would be violation OF Mrs. De-
lands theme too Nagrant for the theatre 10
attempt But in the play the happiness comes 10
Helena through the restoration Of the adopted
child David-not partly through that and partly
through the still. small voice. although, no doubt
the intention is convey idea OF this coniunc-
uon. But precisely here is illustrated the greatest
difficulty Of stage representation difficulty which
only the greatest dramatists and The greatest
actors ever overcome-the revelation Of the soul
quite a different matter from the presentation OF
oft cifa1B hahn,
play finds happiness through possession OF the boy.
Helena in Mrs Delands novel finds happiness not
IN possession alone, but in the awakening OF the
spirit If all this could be surely indicated on the
stage there would be the greatest play at any
rate the greatest acting Of a decade
But this is play worth seeing-this at the Savoy
II can show the vulgaTians who would cheerfully
oebase the stage for profit and 1t can show the
enormous tasteless public. how never ending
problem may be discussed in the theatre without
misleading the thoughtless without offending the
belt-Tespectng without pandering instincts that
are lower than those OF brutes. II show how
by treatment OF playwright and player. a theme
that has gripped the attention of the world for
ages may be set forth for public entertainment and
instruction. with full power convince Of the pun
fishing power OF sin, and the peace and strength
that come with living.
Miss Angn's Helena IS perhaps a shade more
mature than the personality suggested ly the book
and rather more a woman Of the world than the
eternal child whose lack Of common sense de-
4lsAle0 Alnilm KING. Charming she is Of course,
particularly 50 in the easy, hghtsOme moments Of
the earlier scenes. and amazingly convincing in all
the dramatic passages. Yet she seems altogether u
woman % the fine world. far likely, in later
years, 10 become grande dame than Mrs. Deland's
Helena, who longs for peace and secuslon. Per
maps II Is not always wise for a spectator have
book IN mind when he sees a play founded on
The book But last nights dramatization does no
violence 10 the admirable novel from which Il takes
aus course. 1t conveys the atmosphere" preserves
and FaEel
pan and purpose Of the novelist. Sam Wright
SeN'oF' Goes not appear. but Sam Wrght's Sam
lhe youth who laughed wept or sang aloud
lHuiIieFent 10 all about him. Is mpulsiyey played
Dy George PFobert Charles Wyngate, as William
Aihg' Is very good, indeed. Robert Cummings as
DeHJaiiih wright. is inclined overdo the snarl
ana oecrepitude Of the part. Old Wright had a
e--i AunloF' Of which nothing is shown by this
@Ciof VINO does thoroughly all the disagreeable
tl4hgS that are set down for the lonely old dog
but tne most convincing character of all Is the
heF Dr. Lavendar. loyabie and wise old man
piayeo 10 the life By John Findlay There would
sa'e been fine opportunity for scene between
LAVendaF and King their pipes and nips. in
me olc minister's home. But this is a play for a
woman star and Illuminating touches Of that
sort have been sacrificed. sun. the act could
even now be rewritten with that end in view as
wei as for the purpose Of revealing the deeper
significance Of Helena's awakening after the tte-
meiidous climax Of the fourth act
The little boy David. through whom IIelena,s
'i'AStS - "vIASus ~ pldsSd Dy yOunBAter named
Raymond Hackett, who looks Davids years seven
going on eight" and seems 20 enjoy the undertake
Ing quite much the audience enjoys H.
The scene Of the play IS old town among the
mountains Of Western Pennsylvania david travels
over tie Horseshoe Curve, and the time is one Of
the usliest in history. 1860. wheRlair and clothes
and furniture were fearfuly and wonderfully de-
vised II 10 subdue human vanity
There Is no need 10 reteH here the story of this
play Il is well known to all who find enjoyment
d reading abOnf naNs nelaDd,e a,ot, -