The Topeka state journal. [volume] (Topeka, Kansas) 1892-1980, 1911-01-24
CHANTECLER IN ENGLISH
Maude Adams Creates Title Role at
KnickerbOcker Theater.

New York, Jan. Richmond Ros-
tand's "Chantecler," which he has en-
titled, ga play in four acts in verse;
was produced by Charles Frrohman for
the first time on any English speaking
stage, at the Knickerbocker theater
last night, with Miss Maude Adams in
the name part. A poetic text in Eng
fish, made by Louis N. Parker with the
intent of a faithful translation, not an
adaptation, of the original, was used.
"Chantecler'' was performed not as an
allegory, a poetical satire. or for any,
thing else except for what it primarily
presents itself to anyone who reads it
a play. Mr.. Frohman's single wish was
to present NJ. Rostand's play in ade-
quate settings, with simple truth to its
story and thought, reading into it only
the meanings that indisputably are
there and always giving prime consid-
Grafton to the playwright's clear inten-
ton. The play was given in manner
thoroughly natural to its ideals and In
cidents as they occur, in it's entirety,
with no attempt at forcing particular
Interpretation.
1t is recognized that there have been
hundreds of interpretations of Chan
tecler'' and there will be thousands
more. For "Chantecler'' is like a clear
pool under an open sky-each spectator
will see in it his own image. will read
in it that answer to the riddle of life
which he himself has found. However,
"Chantecler'' was not written as philo-
sophie work arbitrarily cast in the
form of a poetic drama but as a thing
to entertain, poetic drama with a
philosophfc backgrouud-ano as sucn II
was performed
Also the performance had the aim Of
emphasizing what is generally agreed
to be the principal theme of Chan
tecIer;" namely, the history of the
trials and disasters that overtake any
- 'xr-1,- haIf h. a VO0qft0n.
a calling. a great cause to further
great work to do. Along with this
basic idea the play contains the ex-
hortation-(of especial significance to
nation of workers)-that although the
daily work of such a being may not
actually bring the light of day, at any
rate. it proclaims it to a sleeping world
Easily that is the keystone thought OF
| NJ. Rostand's play. Chantecler dlscoV-
ers that the sun rises without his morn
| ing crow. But none the less must ne
obey the impulse of work, mysterious,
| imperative, sacred as NE Itsen- ne
must do that for which he was sent
| into the world, and must find in the
doing of it his justification
The role of ''Chantecler," as inter-
preted by Miss Adams, is that of a
man. masterful, paSsionately fond OF
| his life's work and sure ne IS accom-
| plishing it He needs the pheasant
representing the modern development
of woman-domineerin selfish, jealous
| of the man success.
| Follows his establishment when the
pheasant shows him that the day has
dawned without his crow. And his re-
ply is that his destiny is surer than the
| day
| When the curtain rose on the first
act, showing the barnyard with ITS
hens and ducks, the little chickens, just
out of their shells, the black bird
pacing his cage, the great black cat
asleep in the sun and the dog chained
| in his kennel. there was a stir of ap-
probation. The effect of "Chantec 1i';1,
as he leaped on the garden wall Witn
black tail. and his majestic comb, was
/ tremendous.
| Miss Adams in delivering Rostand's
prologue, appeared before the footl1ghts
in full evening dress for the first time
| in her career.
| Among the distinguished people who
attended were NJ. Lefevre-Jontlis, first
| secretary of the French embassy, sent
expressly by the French government
out of courtesy to Miss Adams.