The Birmingham age-herald., 1912-09-21
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"The Confession"

The Confession, has a somewhat har- rowing theme, but is for the most part a play of deep interest and was capably presented at the Jefferson theatre last night. With an intensely religious at- mosphere and a somber background, re- lieved only at rare intervals by a flash of humor, 1t is not the sort of play best suited to the frivolous mind. The rather startling introduction of the Catholic con fessional as a vehicle of theatrio allsm caused & great deal of discussion when this play was first given to the public and 1t is certainly a very impressive fea- ture of the play, whose power .s height ened by the wild voices of a storm at night and the vivid portrayal of mans soul in agony, while the priest as divine instrument sits in semi-darkuess, the subdued light from a crimson-shade1 lamp streaming over his prlestly robes, repentant sinner. Sacreligious or not, this scene grips the imagination.
 The plot of "The Confession" Is woven around the idea that the Catholic confess sion is inviolate and sacred confidence, superior to all human law. While storm is raging French Canadian staggers into the rectory of parish church and there oonfesses to a murder. He .s given abso- lution by the priest Shortly after, the priests younger brother, who has wild blood in his veins and is addicted t, liquor, rushes in and informs his brother that he is accused of having committed the crime. Then the priest s confronted with the alternative of violating his sa- cred office by revealing the true mur- derer or remaining silent and allowing his brother to go to prison. The priest remains steadfast, in spite of all earthly ties-the sight of his heartbroken mother, his brothers stricken fiancee and that brother himself standing in the shadow of the gallows. At the eleventh hour the French-Canadian confesses and dies. and the prisoner is set free.
 After the confession, one of the most realistic features of the play was the trial scene in which the events of d pre- liminary hearing were acted so well that the impression of a real court was created. William Igram us the judge was particularly adept in his portrayal of judicial dignity and conciseness, while Charles Canf1eld did some clever qubbling as attorney for the defense, cross-exanl- ming witnesses.
 Richard Sterling as Father Bartlett the priest, invested the character with a great deal of dignity and power Both his personal appearance and his manner were in keeping with the part Adelyn Bush rel as Rose Creighton was appafently the weak. elinging sort of person the playwright had in mind, while Adelaid Gonndre as the mother. rose to the oc- casion quite capably when strugeflng with all d mothers wild unreasoning force against the stern dectees of the law. Thaddeus Shind, whose name Is suspiciously Celtic, gave a humorous DOT trayal of Michael Grogan, an Irish sex Q ton with a typical brogue. George Man nings excellent makeup helped him con siderably in depicting the traits Of the French Canadian. although hs succeeded in making the character quite vivid at times, especially In the stimulation of great mental agony. Walter R. Boss was ac- ceptable as the accused brother, although he had very little to do after The first act. The remaining members of the com psny gave a creditable account of them- selves
 The first act of 'The Confassion" Is quite the strongest and best of the four acts required to tell the story It arouses interest at once. If the remaining three acts showed as much constructive skill on the part of the playwright. "The Con- fession" would be great play. Az it is, f is we'll worth seeing by people who don't take counterfeit emotion too ss- riously
 "The Confession will be presented at q matinee this afternoon and again tonight