The Washington herald., 1911-02-21
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we can think of who would also fulfill
the physical requirements of the role
The combination of radiant beauty and
great histrionic gifts demanded by the
| role of Everywoman is one so rare
that Mr.. Savage is TO be congratulated
on having secured it so nearly in Miss
Hall.
| In the fourth act the spectacular ele-
| ment OF the production reaches its climax
of splendor. Here we see Broadway on
! New Years Eve, with it's shrieking, roll
| licking throngs and supper parties. The
| stage is one mass of merrymakers, armed
with all the instruments of clamor and
din known to the street peddler's pro-
fession. Vice, represented by a
gorgeous female creature in alluring
| raiment, dances for the multitude. Miss
Stella Hammerstein has been substituted
in this role for Miss Corinne Uzell, who
was seen in the part last week in Balt-
more. Miss Uzell typified the alluring,
gilded Vice that would most surely at
tract Wealth-as the action of play de-
mands. Miss Hammerstein has coarsened
the embodiment and much OF the purport
of the allegory is lost
Everywoman appears amid this scene
of rcvelry. a faded. broken crea-
ture, still bent on her vain search for
happiness and love. She has lost
Modesty and Beauty and has stified
Conscience. Youth alone, of the
three companions of her happier days,
is still with her. But Youth, too, is
destined to die. Time, a bent, old
man with a hoary beard, stalks on the
stage with his lantern and knife and
beckons Youth to leave Everywo-
SfI is the
most tragicalIy pathetic moment in the
play. Miss Patricia Collinge, who plays
Youth, is a slip of a girl. not over
seventeen, but her acting, particularly in
this scene, is mature and powerful art.
Spurned by Wealth, now that she has
lost Youth and Beauty, Everywoman lis
tens at last to the voice of Truth. and
the act closes with an affecting tableau
of extraordinary beauty-a procession OF
priests and choir boys bearing the lovely,
lifeless figure of Youth into the church.
with Everywoman kneeling at the feet
of Truth. the sardonic figure Of Nobody
in the background, and, over all, the
glistening fall of a heavy snowstorm
and the wondrously moving strains OF
Chadwick's music.
In the last act Everywoman is led by
Truth back to the little home she left
when she began her fruitless pilgrimage.
And here she finds Love, the son Of
Truth, waiting for her at her own
hearth. Modesty, too. comes knocking
for admittance-is clasped to Every
womans heart. Thus, though she has
lost Youth and Beauty in her quest
Eyerywoman finds true love where she
never thought to look for it, and the play
comes to its pleasant and logical close.
Among the minor characters are sew
eral that deserve particular mention, be-
cause of the perfect manner in which
they are cast and played. There is John
L. Shine, one of the best known Eng
iish actors of the older school. in the
role of STUFF, to which he lends comic
dignity and fine humor. Richard Lee, as
Puff. the press agent, makes much Of a
small part; Edward Mackay Is a hand
some and impressive King Love the
First; Miss Juliet Day is charming as
Modesty, and Miss Vivian Blackburn
makes a richly beautiful figure of Van
ity. The choral members of the COM
pany are the most attractive Washington
has seen in many years
Z. RICHARD SCHAYER.