New-York tribune., 1912-03-19
"CZAR PAUL |" AT GARRlCK
Orleneff and His Russian Com.
panY in Interdicted Play.

New York had a RED 'hrSt performance
in the presentation Al the Garrick Theatre
last night OF the much talked about pro-
hibited drama "Czar Paul IT, which was
written for Paul Orleneff by the Polish
playwright Dmitri Mereshkovsky.
This play has been banned in Russia he
cause II takes a view Of the character Of
Paul I which the government does not
sanction. although II IS tho view presented
nv English and American historians in
their descriptions of the period.
The theme of the drama Is. briefly. that
Paul I. being capricious despot. with
streaks of mad cruelty in generally un-
sound mentality. becomes. i'm the best opin-
ion Of those who surround him. unft TO
rule Hts sons and the other members or
his family. as we'll as his counsellors and
hls generals. stand about. helpless, while
their Nero-likc ruler plays havoc with his
empire Count Won Palcn, the military
Governor Of St Petersburg, comes 10 the
rescue with tho daring plan Of assassina-
ton which. with the exercise Of great craft
he finally brings about with the help Of
Paul's son Alexander. who signs writ
forcing the ahdication or death Of his father
and the proclamation Of himself as car.
II would seem that this drama, indirectly
n not In so many words. sanctions assas-
sination, although with the usual hopeless
note that sounds through the greater part
Of Russian literature the play ends with the
words: "One tvrant is dead another has
come 10 the throne" Ard. no doubt, il was
largely because Of it's generally revolution
ary tendencies that "Czar Paul T. has been
al, In
fucnce of the Russian government, through
out Europe.
The play itself is written in different
style from the dramatic works Of the Eng
iish. French or German stage to-day. II
Is perhaps more like an opera In compost
ton, as II has innumerable scenes which
are introduced as many arias, etc, are,
for their own sake. without having any
direct bearing on the plot. The scene be
tween the despot and his favorite, the
Countess TagarIn. for instance, seems 10
have been composed To give a more inti-
mate idea OF the historic background from
which the man emerged as well as 10 throw
sldelghts on his character. But these
things. although interesting, simply delay
rather than bring on. the ending.
Paul OrleneH, WHO is COilSlu'l'" 'llV VI
the greatest of Russian speaking actors,
came TO this country primarily. II is said.
for the purpose of being at liberty to pre-
sent this drama. He plays the part or
Paul I and I'm truly an imperial manner.
He is not the unreal statuesque Cesar who
is no nearer TO his audience than to his
awestricken subjects. He is vital and even
sympathetic. because human. Despotsm
has in Orlenens reading. finally gone TO
,be deenot's own head and unbalanced him
Tie presents a figure that Is used to the
exercise Of power and therefore uncon-
scIously imperial. only one curious thlng
no aid and that was a matter OF makeup
In tho first four acts he wore the conven-
tionaI white wig. and had added false
riece 70 the end OF his naturally straight
nose n make It appear long and protrud-
ing I'm the last act he had doffed his wig
- bich was natural enough. as he was about
DO retire. but also lie had taken of his
fac,aI makeup and removed the false tip
IN his nose. These things not only COM
nIetaIv changed his appearance, but MADE
hin, look twenty years younger.
orIeren has a we'll trained company all
=, n,bou acted with an exciting sense Of
ouiet and restraint
4 large and unusually demonstrative au-
d,ence. for the most part composed OF Or
,orofr's fellow countrymen. gave their IA
yorite actor an ovation after the play.
,,cT nE "iZAR PAUL 90