Evening star. [volume] (Washington, D.C.) 1854-1972, 1912-06-04

Columbia.

So loyal are the patrons of the Column
bia Players who have for the past three
years crowded the Columbia Theater
nightly and at the matinees. and lavished
their applause first upon this favorite
ard then upon that, no matter what the
production. that the play with them has
almost come to be a subordinate feature.
But last evening both the fans and
those who are less spontaneous in their en-
thusiasm were brought face to face with
a startling surprise. for this time it was
the play that counted, Wilson Barrett's
powerful drama of the days of Nero.
'sThe Sign of the Cross, in which the
author-actor earned his greatest fame
and to which he devoted his highest tai
ents as player and producer.
| To many who read the advance an
nouncement of its presentation the
thought of a summer stock company en-
gaging in such a stupendous undertake
ing seemed like tempting fate for bit
| ter failure. Today, among not only the
| fans" but those whose insight goes
more deeply into what happened, even
with the critical eye Of the regular sea-
son. there is wonderment, natural and
well justified wonderment, at the smooth
| and splendid performance. And those who
know something of how these productions
are wrought go behind the scenes in
search of their chief object of praise.
Theatrical Washington this morning must
| figuratively take off it's hat to Director
| Edwin II. Curtis for his remarkable and
| splendid achievement.
| AS Marcus Superbus, the project, Ed
ward H. Robins, the Columbia leading
man. has the one really great part that
| has come to him during the season. 1t
| is role that calls for the very best talent
of heroic actor. and one in which
mediocrity must inevitably fail. and fail
| ANONYMOUSLY. Those who followed Mr..
Robins through the various stages of its
development will accord him high praise
| for splendid portrayal.
Frances Nelson as Mercia seemed
chastely beautiful, and the strength OF
that faith which could make Mercia smile
| in the face of death. was fervently por-
trayed. A bit more of the spirituelle would
| have made her characterization superb.
| Violet Heming, as Stephanus, the Chris
| tian boy. whom torture made betray his
companions and yet whose faith ultimate
| ly carried him calmly smiling to his
death, was one of the really appealing
features of the performance. 1t was
! finely wrought characterization and mer-
| its high commentator
| Carrie Thatcher, as Berenis, whom Mar
| Gus cast aside for Mercia. is also en-
| titled to credit for consistent and eff
fective impersonation, and her song in
the first act was one of the beauties of
the play. Julia Blanc as the wife of Nero.
| gave strong portrayal Of the role. and
reflected the work of an intelligent and
| painstaking actress. Aline McDermott,
as Ancaria, also merits appreciation for a
well played role. and Mary Randolph
was quite acceptable and frivolous
Dacia, even though bit modern in her
manner
John NJ. Klines impersonation of Tigel-
| linus was masterful one. 1t is thus far
his strongest and best Offering, and served
to disclose to their best advantage not
only his fine stage presence and resonant
voice. but his intelligent discretion as an
actor of heroic parts. Godfrey Matthews,
as Licinius: Carson Davenport, as Glab-
rio, an old Lothario; Willard Robertson.
as Servillius and George Barber. in
unique impersonation of Nero, were
prominent factors in the success of the
performance in which every member of
the company even the genuinely effective
mob and silent actors and actresses, is
fairly entitled to generously share
There will be no Saturday matinee this
week. because of the unveiling Of the
Columbus statue; but the management
announces an extra matinee Friday, with
the usual matinee Thursday afternoon.