The Birmingham age-herald., 1911-12-31
NAUGHTY MARIETTA
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Henry Miller on New Years

Henry Miller on New Years
 Henry Miller, whose name has always been associated with big things in the American theatre. comes to the Jefferson theatre New Years day, matinee and night, in his powerful play, "The Havoc" by H. S. Sheldon.
 "The Havoc" bears the endorsement of a seasons run in New York and has just received the enthusiastic verdict of ap- proval from every critic in Chicago. Its theme is so gripping, it's logic so over whelmingly true and it's author so brilliant in his treatment of big subject that it needed a producer like Henry Miller, whose absolute fearlessness gave tThe Great Divide and "The Servant in the House. to the American stage. to put this powerful play before the American public with a cast and production worthy of the drama.
 "The Havoc is new treatment of the dramatic triangle. Its author has shut his eyes to the fact that heretofore the prin- cipals of an illicit love affair have been 5lorified by dramatsts, and has shown, instead the havoc that remains when the flames of a guilty passion have burned away And from the wreck created by a revolt against marital ties and tramp ling on convention the author shows central figure of titanic strength-the hus- band who is wronged.
 
 what he unhestatingly classes as the greatest role he has ever played. This character, Richard Craig. is high off cial of big railroad company. Absorbed in tho duties of a responsible position, he has, according to the viewpoint of many women in>real life, neglected his wife. On the night that the play begins he is brought suddenly face to face with a trag- edy in his home. And In this situation the author of ''The Havoc" proves him self virile writer, and Henry Miller once more demonstrates that he is great actor When Craig steps from behind a door that has concealed him and con- fronts his wife and her lover a big tragic note is sounded. and one that is unmarred by melodrama or mock heroics. Craig does hot appeal to the unwrtten law. His big American brain points out another, and better way. It would be unfair to the author and to the audience to detail the development of the story from this point.
 It is sufficient to say that the second act of 'The Havoc" is played in key ofasardonic humor,- which shows a new phase in Henry Millers versatility as s creator of stage portraits that finger for years in the memory of theatregeers, The second act comedy. however, is almost sinister iii it's suggestion of hidden men ace. As an audience laughs at the brilliant
 
 act climax, when Craig, glanping at a novel which the lover gave, his wife to read. says, withsa double meaning that is quite apparent, "The beginning is interest," ing. of course. one cannot tell what the end will be.'' Mr Miller has selected his~ supporting company with his customary genius for insuring brilliant ensemble perforrn- ance. and the production is. in keeping with the actor-manager's reputation for a perfect artistic taste Y
 "Naughty Marietta" Next Wednesday When Oscar Hammerstein appeared in London and announced his intention of giving the English capital an opera house to be proud of. people who were unac- u,ianted with his character of the inn presario regarded it as bluffs There now exists very tangible evidence that Hamn1erstein was in deadly earnest for externally the London opera house is com plete architectiirally it is far and away the finest theatre in London, if not in the whole world.
 "It Is the biggest proposition in opera that the world. can show says Mir. Ham nerstein. ss.So far as the house is con cerned this 'js the finest that have yet built, and I intend that every thing shah be worthy of it. It is all very we'll to talk of the fine national opera houses on the continent-they are absolutely inferior compared with this" There may be mar