Evening star., 1912-11-05
Columbia.

1.-The Stronger Claim presented at the
Columbia last night, appears to be based
on a problem as to whether man de-
ceived by his father into the belief that
the woman he loves is dead is morally
bound by obligations as a priest after
he discovers his mistake. The alternative
it was meant to suggest of duty to family
and duty to church is not clearly pre-
sented in the play. The progress of the
plot automatically subordinates it to the
simple question of how far man is
morally bound by a pledge which he
made as the victim of deception.
The issue is finally evaded with more
discretion than art Unfortunately for
the inquiring mind, the cast OF chaf-
acters includes no figure competent TO
speak with authority on the ABSTRACT
theories involved, and the play resolves
itself into a single situation; one OF
human poignancy, but without substan-
tial foundation at the outset or satisfac-
tory explanation in conclusion.
Where the characters of a play do not
ring true their interpretations cannot De
expected to do SO. The stage appears 70
be peopled with a diverse assemDiage ol
familiar acquaintances-Magda ana the
unrelenting old man who cannot undef-
stand her life or ideas: John storm, the
hero of 1.-The Christian: German
chauffeur so winsomely played by ROD
ert Fischer as to be reminder OF frihce
Karl himself.
Storm part, SO subordnated in TIE story )
legitimate interest that the numerous
acting opportunities it affords are with
out much value to him. The unrelenlins s
father is played with unavalrng oisniis y
and feeling by Tim Murphy. since ne IS
revealed at the outset as man or Wnln-
steal irascibility, and, as the plot divuiges,
man of shabby treacherles at no lliile
claiming the sympathy of the auuiehce
or presenting a convincing picture OF nu-
man nature. The Magda representation
lacked emotionality in this instance,
PLAYED BY Miss Matthison, whose naturai
tendency is to idealize to the utmost ana
not to humanze. Her roles are lnVarlaply
symbolisms instead of people.
So far as a heart-wringing com,
plexity in the struggle of personal
conscience or desire with reverenced au-
thority is concerned. the play has power.
but it does not address itself 1rankly to
its subject. The responsibility for the
situation lies neither with the church
nor with the man and the woman, put
with the parent, whose conniving deprlves
a home of it's support and forces INTO the
church an unworthy devotee.
So serious discussion as the He.heu e,'. "
treatment forces artificialiy to the front
should not be presented in the spirit or
popular entertainment deferential IN any
degree to the taste for happy endlnSS.
1t should proceed with logical sincerity
unhesitatin in recognition of tragedy
where tragedy is the one solution.
The excellent relief afforded by the
character of the chauffeur among the men
was duplicated in that of the maid among
the women. Miss O'Neill was amusing
and pathetic in turn: less weighted with
responsibilities tnan others and therefore
in a position to realize more fully the
scenes depending on her. The possibili-
ties of the part of the old mans daugh-
ter whose purpose is not strong beyond
assistance in the conduct of explanatory
dialogue were well realized by Miss Alice
Johnson.
Last nights presentation could not be
regarded as a finished one, certain in
securities in the delivery of the speeches
being plainly noticeable. The play itself
may be greatly improved when it's author
ship decides to present the theme con-
sistently, either as a moral and phllo-
sophical demonstration, or as work of
purely literary and artistic interest.