The Birmingham age-herald., 1912-12-31
ADJUSTMENTS
Every woman"

The second engagement of Every woman" at the Jefferson theatre was begun last night with Adele Blood in the principal role. Walter Browne's cele- brated morality play. given a modern setting, is one of the most unique the atrical offerings of recent years. It appeals powerfully to the imagination. both by it's poetic theme and the ad- mirable way in which the play has been staged. The sorrows and joys of Every womans pilgrimage in search of Love are visualized in a most impressive man. ner the art of the playwright and the skill of the producer combining to form a dramatic spectacle that richly de- serves the praise which has been ac- corded it in this country and abroad.
 Miss Adele Blood appears here for the first time as "Everywoman." Her superb blonde beauty is well suited to the part and in addition to her striking loveli- ness, Miss Blood has histronic ability. She presents the character with a just sense of it's dramatic value and acquits herself extremely well in role that is quite different from conventional stage types. Everywoman is a strongly ac- centuated character. Her pilgrimage is in itself symbocal and she typifies not one woman but all women. Miss Blood seems to have caught the spirit of the role and is thoroughly in sympathy with its requirements. Her performance is one of artistic worth and great physical charm.
 Eugene Ofmonde plays the part of No body fairly well in most respects, but seems to miss the irony and the grim humor of the character at times when those phases of Nobody's character are meant to be most effective. Perhaps MT. Ormonde suffers in comparison with Frederick Warde his predecessor in the role, whose faultless reading is seldom equaled on the stage nowadays.
 A number of familiar faces are visible among other members of the company, which is well equipped, well balanced organization. Miss Marion Dentler as Youth, Miss Lea Lecture as Beauty and Miss Ruby Rothnour as Modesty acq2it themselves creditably in graceful and pleasing presentations. Miss Betty Mars den as Conscience sang with a sympa- thetic voice and made Conscience an appealing figure. Kathleen Kerrigan as Truth, John c. Thomas as Passion. Nes- tor Lennon as Wealth, Theodore Wilde as Time, L. J. Loring as Stuff and Mau- rice Drew as Bluff, theatrical man agers Lydia Crane as Vice, Charles Lambert as Witless, T. Jerome Lawler as King Love and w. J. Mahony as Flattery are afnong those who deserve praise for contributing materially to the success of the performance.
 "Everywoman' is play that can be seen over and over again without loss of interest It's symbolism, it's appeal to the imagination, it's humor and the ilumi- hating glimpses it affords of modern life, although fashioned after very old form of dramatic writing and couched in the quaint vernacular of bygone day, easily explains the impression which ''Everywoman" has created. The ban quet scene where Everywoman is at the height of her glory. the New Year revels on Broadway, the sad little funeral of Youth last of Everywoman's companions to leave her, the booming of chimes, the songs of the choir, the solemnity of the church, the blaze of folly and the pangs of despair are all vividly presented. Ii is with a sense of genuine relief that the spectator beholds Every woman, weary of the world and chastened by suf- fering, return to her home, there to find King Love and regain those womanly graces which she had lost.
 "Everywoman@ will be repeated to- night, tomorrow afternoon and tomorrow night. As the result of d typographical error in the programme it appeared that Miss Blood and Miss Boyd both played Everywoman last night Miss Boyd will portray Everywoman Wednesday night.