The Washington times., 1913-03-12

nj The subtle little Russian in
terpreter of Ibsen has never
been better than in the play in
which she is appearing at the National
Theater this week-"Bella Donna" a
dramatization by Bernard Pagan, Of
Robert Hichen's novel of the same
name. The part of the snalxy, subtle,
wicked, neurotic woman Of middle age
suits Madame Nazimova better than
anything she has had in the seven or
eight years since she became an Eng
lish speaking actress. 1t gives scope to
her technique In equal measure to the
pleasure It gives her audience. Bella
Donna" is the type Of woman who fas-
cinates, even when one despises her.
wicked twentieth century reincarnation
of Cleopatra, and Nazimova plays 1t so
sardonically. so inhumanly unlovely
that the audience somehow finds itself
fascinated by her. in spite OF her ser
pent-like devilishness.
One of the compelling charms Of the
play aside from its chief appeal Is the
Oriental atmosphere that surrounds IT.
More than mere illusion is obtained IN
the stage setting which transports the
audience at the beginning OF the second
act to the Villa Androud, at the edge
OF the Egyptian desert. The cffect is
SO real that 1t Is easy to imagine that
the vast waste of sand lies right out
side the door of the villa, where Nigel
Armine and the notorious woman he
has married, are spending their honey
moon. The chant of the Nubian sailors.
the cry of the faithful Muezzins. the
glimpse beyond Of the Arabian village,
the native servant who sinks velvety-
footed across the dark background, ever
with a red rose held between hts lips.
the houseboat on the upper N.le-an of
these lend an Oriental atmosphere so
real that one forgets that right out
side the door of the theater lies the
busy. hurryins. material twentieth GEN.
tury world.
OF course the sinuous Nazimova is the
entire play. as far as the feminine con-
tineent is concerned. As Mrs. Chepstow
first. and later as the wife of Nigel
Armine, she is wonderful. Her lss0 as
Mrs. Chepstow has not been absolutely
above suspicion. and, having reached
middle age, she Is restire. morbid,
dreading the approach of old age. and
the consequent loss Of her beauty and
youth, which obsession is likely to
fasten itself upon any woman.
Nazimova presents q vivid picture of
the adventures, and Is satisfying in
every way, except In the matter of
voice. From my seat, six rows back, 1t
was almost impossible to hear more
than half her lines. and I wondered If
those in the back Of the house could
i0bt ho Of
other members Of the company. The
sinister Mahoud Barodi of Robert Whit
worth Is one of the delightfully."- acted
roles in the play, and Charles Bryant
| makes the character of DIR. Isaacson
one of the pleasant and most sympa-
| thetic bits in the production. Amy
Venness, as Mrs. Marchmont, and Will
i lam Hassen. as Sir Henry Greve, are
excellent In small parts, and Herbert
Percy is more than excellent in the
sympathetic character of Nigel Armine.
Claus Brogel Is impressive and uncanny
in the part Of Hama. the silent Egyp-
tan servant Romaine Calender adds
to the excellent ensemble in the role of
Ilbrahim, also a native servant.
The story Of the play concerns Mrs.
Chepstow, who. on her first appearance
in the play. confesses TO Dr. Isaacson
realize how frightfully women-many
women-sufYer secretly from depression
| when they-when they begin to find out
that they are not going to remain eter-
| nally young?''-the fact that she Is
neurotic. trifie unbalanced, perhaps.
and ready 10 do anything that will make
her forget that her power over man
! Is about to take wings and fly away.
Why she should proceed to conduct her
self like Lucretia Borgia and plan to
poison her husband just because his
brothers wife happens to have twin
boys is a question none but nerve
specialist can explain. and DR.. Isaac
! son Is the answer.
The last three acts. following her