The Birmingham age-herald., 1910-12-18
WEEKLY THEATRICAL LETTER
BY EMORY B. CALVERT


 ing her husband to deeds of bloody crime. The love of the Lady for the Thane, her husband, was it's claimant trait, an overcoming ambition for his future greatness was it's guiding force This lady taunted and steeled her hus- band to bloody deeds because of her love. The deep affection of her nature burst forth in a burning flame in tile banquet scene. Tortured with remorse, she was but a phantom of herself in the disordered imaginings of the sleep walking scene Julia Marlowe never acted with finer comprehension or greater power than in this last awe some scene which crowned her nights work. She is slighter in form now than formerly, and her voice retains all the velvetry sweetness which is the glory of the poetic dramatic stage in America.
 In so brief an alaysis as this it is | impossible to impure into the acting q l the lesser characters. It is enough at present to say that while the company did not exhibit the same knowledge e poetic delivery as the stars, they united In a performance which was always I nlusory, always effective and some- | times powerful.
 "Mary sIagdaIene, Although his theme Is an ancient one and has been treated by many play | l ton of that interesting Biblical story, Mary Magdelene. is by no means hack | neyed This new work, which recently lad it's premier at the New theatre con tains much that is unique and in no pre- ylous attempts have the characters been drawn sc effectively.
 l The play represents the opportunity, that came to Mary Magdelene to save the life of the Nazarene by yielding herself wholly to the young Roman officer, whom | she loved and the spiritual regeneration i that made such action impossible. The piece is full of poetry and interest that is often more literary than dramatic, and with the philosophy that every reader of Maeterlinck finds no less satisfactory for hsing bit elusive.
 The two most powerful scenes in the rlay, however, are borrowed from work of the same name by Paul Hyse the Ger rlar poet. But Maeterlinck, in a preface, admits this, and goes so far as to say that he had asked the permission of the German bard to use these scenes, but his request was met with an indignant re- fusal. In spite of this, Maeterlinck h. corporated the situations in his work, in the belief that all Biblical incidents are public property.
 Maeterlinck's work, however, differs greatly from that of Hyse's The situa- tions are more intensely dramatic, and his treatment of the character of Christ l is more daring and equally reverent. In this connection, I might state that Christ Is represented by voice, which
 is heard from time to time. His sayings 60 not flow from the mouth of another, 1 as is often the case in such productions, but so skillfully Is this part handled that the most devout Christian could not take offense.
 The play on the whole is most impress sive, and cannot but help be an influence for good.
 The cast, however. Is not deserving of such commendation. The main burden rested on Miss Olga Nethersole, and had her work been of higher order it would no doubt have helped her supporters con- | siderably But it was a disappointment. Her theatricalism, her mannerisms and her peculiar quality of voice are not suited to the part.
 Edward Mackay, in the role of Lucius Verus, the Roman soldier made an i'm posing appearance but lacked sincerity. AS Appius, Charles B. Hanford was quite natural, but inclined to give too much of a comedy turn to this charac- l ter.
 l Arthur Forest was very acceptable as l Anoenus Sianus, the philosopher, and Wilfred Roger gave an excellent interpre- | tation of the character of Layaraus
 Scenically the performance was all that could be asked, and the band of cripples and sick who followed the Christ was very realistic. e -h
 "sarah Bernhardt" | The destructive hand of Father Time | has apparently little effect on the immor- l tai Sarah. To see her as the youthful Due de Reichstadt in "L'Aiglon," one would think her a grandchild instead of A grandmother. And in all her roles her voice and actions betray no indication of 60-odd years.
 Nor has her popularity waned. On the | contrary, it seems to have increased with every year. .r
 When she recently opened her engage ment at the Globe theatre she received | a reception such as falls to the lot of few artists It made no difference whether her audience understood French or not The majority were there to see this won derful woman, who seemed immune to the wear and tear of old age. Outside the theatre her name was emblazoned in bright incandescent lights, while motor l cars lined the streets outside.
 Thirty years ago when the great | actress made her first appearance here these modern appliances were the dreams | of daring scientists. Booths theatre, To- cated In what Is now considered the 1 downtown section of the city, was the scene of her triumphs, while the Globe theatre, where she Is at present appear ing. Is situated in what was then re- mote residential district
 | Most of her artist friends and asso- ciates have long ago passed away, but she still remains the physical and artis- tic marvel of the age.
 Her cast, as usual, Is very competent snd her repertoire included many of her