The Washington times., 1911-02-21
DRAMATIC NOVELTY
IN MORALITY PLAY
"Everywoman" Remarkable
Achievement From Many
Viewpoints.

liant wavs, so nearly unique as to COM
mand attention even in q season of high
artistic achievement. is "Everywoman,"
seen in its infancy at the Belasco- Thea
ter last evening.
The piece comes under the paradoxical
label of a new morality play, but there
is more Of it than that title might indi-
cate. 1t defies classification. For the
student Of the drama who went to see a
revival Of an archaic dramatic form It
had its lesson; for the occasional play
gocr who likes moral with his theatri-
cal diet it carried a preachment, for the
lover of music 1t provided keen enjoy
mcnt, and even the seeker after enter
tainment had his expectations gratilied.
This is broad and sweeping praise. But
1t is not too fulsome for this remark
able achievement, for which credit must
variouslv be assigned the author, Wal
ter Browne: the composer, George
Whitefeld Chadwick: the producer,
Henry w. Savage, and, in a lesser de-
gree one feels compelled to admit, to the
the presenting comrany.
Note of Pathos.
a note Of pathos will ever be associ-
atCd with the presentation OF Every
woman" because of the untimely death
Of its author on the morning Of its first
appearance, scarcely two weeks ago. To
that, after one has seen the play, must
be the added regret that the American
stage. not too rich in serious and pur-
poseful writer's. should lose a playwright
OF such rich promise as this effort
proved Mr.. Browne to be
True, after the highest praise Is ac-
corded this piece, one must still deny
II the deep significance claimed for It,
since the morality play Is not likely to
take permanent hold on modern taste;
but 1t stands as a meteoric dramatic
concept, and easily the literary curios-
ity of the year.
The story Of "Everywoman' has the
simplicity that marks true art She is
shown IL quest OF Love. She seeks him
behind the fOotlights, she looks for him
in high places. sne even invadcs garish
Broadway, and lives to learn that he
lurlled all along by her own fireside. He
is depicted as the son of misshaper
Truth On her quest she meets Wealth.
one by ore, and tears off their masks,
" uloNLOSC liItIiI III al lIlcIE uS
BY her side at the outset were Youth,
Beauty, and Modesfy Conscience was
her handmaiden. Modesty was smus-
glcd away by giddy chorus girls. Youth
was cast away, and Beauty died.
Symbolism Complete.
1t is impossible TO put on paper the
complete symbolism of the stage picture.
Even a reading OF Mr.. Rrownes play
car bring little appreciation for the
full beauty of the work. Therein lies a
secret of his success. He did not write
for the library table. on the reading
his blank verse sometimes seems un-
corth. When it is put in the mouths
of players one begins TO feel that this
playwright lad the rare gift of writing
for tho actor.
There is less Of the grim, introspective
philosophy of "Everyman' about
"Everywoman." The new morality
play has more TO do with mortal hap
piness than the quest Of things un-
seen. Much of the stress that besets
"Everywoman' seems to culninate from
the force of outward circumstances.
The new morality is less somber. less
fstalistic than its medieval model, but
in its disposition to emphasize the in
fiuence of environment without losing
sight of innate forces lies its chief
charm
The first act OF the new morality ad-
heres most closely TO its classic model;
after that it departs TO the paths Of
more modern methods and approaches
the fantastic. the garish, but never
without purpose. These things are set
in fine contrast TO the simple serenity of
':Everywoman's home whence she sets
out I'm quest of King Love only to return
to find him reigning there.
Type of Characters.
The deftness with which the author
depicts subjective and objective influ-
ences is one phase Of the consummate
skill of his work. The images of
"Evcrywoman's" soul - youth, beauty,
modesty, conscience. are all clothed in
some other world type of garb-are
made to seem aIlegorical by their lines
while in sharp contrast the outward
forces that shape her life-Wealth, Wit
less, Puff Bluff, Stuff. and the rest, are
clothed with unmiStakable personalities
the Dersonifcation of some trait per-
haps but stirl pulsating and intensely
human beings.
When scenic inveStiture, costumes,
lighting effects and little tricks OF stage
management are all in such delightful
accord, perhaps it is GEgrateful to lay
particular stress on one feature. But
il added tribute is to be paid, 1t must
be to the music of the piece, which lent
an additional appeal to the sensory i'm
preston of an unusually harmonious
whole.
There are faults in the production
but they are such obvious flaws that
they probably will stand corrected be-
fore the play grows much older. If
conscience speaks in a still, small voice,
as the lines reiterate, her singing should
not be accompanied by an orchestral
blast. Why should not vice, granting
her only symbolical significance, be
more warmly clad like her companions,
at night? Nor Is "orgies" an accepted
rhyme for gorgeous"
Shortcoming In Acting.
But the greatest shortcoming was in
a certain insufficiency OF Miss Laura
Nelson Hall to strike the motif of the
leading role. "Everywoman' is a part
which would do honor to our greatest
players. 1t affords a range of oppor-
tunitics as wide as it's name suggests.
1t gives chance for sounding notes of
strident JOY and unbounded sorrow.
Miss Hall only touched on the border
land of such expression. This should not
be regarded as disparaging to her. She
has rare ability in her peculiar field.
But she is not a reader of blank verse
she is not an adept at classic roles
and such an actress, rather than one
who embodies the arts of the modern