The Detroit times., 1912-04-09
THE STAGE
oARRIcK.

The quest OF the eYer-heeting, ever
elusive rztn.hesCaEed- bIFd-of-per'
iect happiness was made over new
highways and through different by
ways, Monday evening by MINER.
Gus company of eager seekers assem-
bled I'm the Garrich theater, 10 make
the journey with Tyltyl and Mytyl OF
Maurice Maeterlnck's exquisite
fancy. founded on an old French
legend and which the world knows
as The Blue Bird"
Ever since the first great success
OF the New Theaters introduction OF
the play TO America. the reading pub
lie has been given the profound
thoughts and the wise deductions OF
scores OF essayists, philosophers,
poets and what not. who have dis
sected this remarkable fantasy of
child imagination, into minute par
ticies. seeing far more wonderful
things in It's symbolism than even
Tyltyl and Mytyl met with in their
journey OF a night.
When all these curious suggestions
OF the possible and probable meaning
and intent OF aMterlinck in writing
The Blue Bird" ar elai daside. and
the spectator enters the playhouse
with a comparatively free mind and
unclouded perspective, he viii be re-
warded with three hours OF exquite
fancy. delicate imagery. beautiful
scenic pictures. charming poetry. He
will leave II with a greater content
for the world as Il is an infinite
yearning and tenderness TO ward
childhood; q sweeter. clearer vision
of the possibilities OF much happiness
on his own doorstep. and a spirit bent
upon doing his share toward making
his own doorstep and a spirit bent
upon dom ghis share toward making
his little sphere one OF true useful
ness and cheer. III he does not depart
in this mood then his eyes have been
unseeing. his ears unheeding, his
heart unopened. his mind blank and
the beautiful message OF The Blue
Bird" lost forever
The play is beautifully presented.
Ii is we'll known that the stage OF
the Garrick theater is the smallest. OF
the city's playhouses, and so large
and complicated a production as The
Blue Bird" might we'll present great
difficulties to those behind the scenes.
/
achievement that the play moved from
the beginning TO the end OF its eleven
scenes with perfect precision and
smoothness, not sound OF moving
machinery marring its presentation
and not a moments delay being
noticeable.
The story OF "The1Blue Bird is de-
veloped upon the thought or happi-
ness as a fieeting elusive thing-eyer
pursued and-FaEely -eausAtr- NO
little peasant children under the lure
OF fairy go forth TO find the blue
bird. the symbol OF happiness. Fol
lowing them in the search are the
souls of Light. Fire, Sugar, water,
Bread and Milk; and, closer than all
the Others, the faithful. whole-hearted
dog and the suspicious, treacherous
cat They 60 10 the wonderful land
or Memory, where no one dies VINO Is
remembered. they visit the Kingdom
of the Future and see the oeautlIui
unborn children waiting for their
Journey TO the earth: they wander
through the Palace OF Night with It's
lows and tortures, finding hundreds OF
blue birds that perish before Light;
and then they are guided through the
Land OF Happiness back 10 their
homes only 10 find that the blue olsu
has all the time been dwelling IN
their cottage.
The unfolding OF the story is las-
cinating visual picture OF the poet
fancy. as Accordingly interesting 10
the adult mind as il could possibly
be TO the Imagination OF child: Inc
excellence OF the company interpret
ing the fable. OF course, is large
factor in it's charm, and TOO much
praise cannot be given to the chill
dren and the men and women VINO
so intelligently and charmingly enact
the characters.
Burford Hampden. as Tyltyl' ana
Helen ROLAND, as Mytyl are such
clever little youngsters that they
seemingly have mastered completely
the details OF that art which conceals
art. There is nothing of the parrot
ike precociousness Of the average
stage child about them. They are
natural. unspoiled, charming chill
dren. The demands made upon them
are great and they are fully equal 10
the requirements.