Evening star. [volume] (Washington, D.C.) 1854-1972, 1912-02-06
ADJUSTMENTS
New National.

Far different from the ordinary theat-
rical offering is "Chantecler," in which
Maude Adams and company of excep-
tional proficiency are appearing at the
New National Theater. The work is less
play than a creation and poem. Its
facilities for the exploitation of a per-
former are limited. Though every trick
ndividualism to the front, the idealism
overwhelms the presentation and the
players become as instruments in the
performance of a great symphony. In
order not to sacrifice the appeal of facial
expression double visage is given to the
birds who form the chief characters in
the heroic comedy. The lifeless glass
eyes stare with fixed ghsstliness from the
headdress and the beaks protrude from
the foreheads of the players like the visor
LOT cap. Acquaintance obliviates the
contradictory Impressions, and the feath-
cred dress, elaborate and Obtrusive as it
is, finally sinks into the suggestion of
trait and character upon which the poem
depends
1t would be possible to discuss
"Chantecler" in many strains 1t could
be ridiculed for its barnyard comedy
and it's occasional makeshifts of con-
structiOn in order to reconcile ideas
which natural history does not coun-
tenance-for the hen pheasant is not a
gorgeous creature. nor is the barn
yard cock solcitous curator of the
fies ridicule. AS in "Cyrano de Bergerac,
he eXhausts a jest and makes it the
vehicle of exquisite pathos and deep
philosophy. 1t might be spoken of in
terms of unbridled admiration, yet the
poem in one line after another sounds
it's own protest against superficial hero
worship. To discuss it as a comedy would
be to magnify it's least significance
into diSprOpOrtiOn and to treat 1T as a
purely dramatic entertainment would
be to call upon the mind to subordinate
it's Impressions to those Of the eye and
the ear. 1t is q gem whose myriad
faces shed radiance from many an
giles; it may have flaws and it may
have suffered at the hands of unskilled
lapidaries. but it is none the less a
gem Of regal and superb magnifcence.
The defiance of custom which ap-
pears in the conception and execution
of the poem is carried into the stage
delineation. The role of the splendid
and courageous Cock is portrayed by
woman. and one whose efforts have SO
endeared her to the playhouse that her
own wish as to what types she shall
endow with delicate human signifi-
canoe is a law unto itself.
The role of the Hen Pheasant is
presented with rare grace of pose and
considerable vigor of reading by Miss
Josephine Victor, an actress of excep-
tional promise.
The Blackbird is smartly incarnated
by William Levers, and the Dog Pateu
gives expression to his honest aver
sions with effectual. though unobtru
sive. force through the mediumship of
George Henry Trader. Indeed, the en-
tire cast is plainly the result of judi
cious selection.
The prologue, as delivered by Miss
Adams did not have the clear-cut
enunciation TO which the text is en-
titled. but the scene with the Hen
Pheasant. in which Chantecler calls
for the dawn, even as the poet cries
out for the inevitable in human event,
was a splendid revelation, which swept
away all impressions of incongruity
lurking like shadows through the
presentation
The scene with the Nightingale Lark
was one of rare beauty, and the conclu-
sion was an expression of power and
pathos.
'Chantecler" is too bold in it's concept
and too broad i'm its assemblage of large
idealisms to be presented under ordinary
stage conditions in a manner that will
completely satisfy every intelligence. Yet
it Is thing of wonderful beauty. an APP
peal to soul rather than to sense. and
to be heard like some universal prayer
with reverence. no matter how uttered or
by whom. The presentation is one of the
most remarkable and interesting that the
current stage has to offer. entirely apart
as it is from the ordinary drama, both in
elevation of thought and elaboration of
technical detail.