Evening star. [volume] (Washington, D.C.) 1854-1972, 1913-01-14
ADJUSTMENTS.
Relasco.

Julius Caesar is play that tests the
! mettle of actors. 1t is keenly competitive
in the pace that is set by the men who
| undertake the representation of it's three
great figures. Its love interest is slight.
so far as dramatic motive is concerned.
1t is the serious and simple love of wife
and home that affords support to the
thread of superstition that runs through
! the plot. The gentler side Of life by their
aid is illustrated just sufficiently to give
background to the narrative of terrific
events in the lives Of men who have in
trusted their ambitions to the tickle hu-
NOR of the Roman mob.
When the first curtain rises the scene
is declaration of the high standards
upon which William Faversham bases his
claim to respect as a, Shakespearean star.
The setting is a creation of extraordinary
beauty and the spirit of the opening
scene is that of the acting manager
whose aim is rather for the excellence of
the play as a whole than for the ag
grandizement of his own personality.
The minor roles are we'll played. the
collouuys between the lesser mobiles and
the citizens being sustained with active
human interest. Indeed. the performance
throughout is marked by straightforward
acting full of poetic power, yet of the
modern school in its directness and in its
lack of stilted pose. At the outset Frank
keenan, sets pace which awakens APP
prehension that it cannot be sustained.
His Cassius is a creation of rugged power.
He is. indeed, the warrior statesman,
whose craft is subtle and whose rage is
overwhelming. Mr.. keenan, plays with
fearless intensity. He steps into the scene
almost like figure from the old days.
when men of rugged feature and man.
nerS of Indifferent polish were able to
dominate by sheer force Of elOQuence and
of emotional energy. Not less admirable
than the power and vitality that distin-
guish the keenan, performance of Cas-
sius is his almost defiant courage in dis
missing the idea of conventional diff
dence that is more or less expected of
player not Familiarity known in the
classics. The rugged magnificence of this
Interpretation affords fine contrast to the
poetic brilliancy of Faversham's Antony.
Favershom's work is free from the faint
est trace of affectation. He derives no
benefit from any note of personal assump-
ton such as many players employ. 1t is
for this reason that his splendid artistic
achievements, repeat them as he may,
come each in turn as something OF a sur
Prise. BuOyant of manner. mobile of ia
cial expression and reader whose in
Elections by natural sympathy convey the
most delicate shading of thought and
feeling, there is nothing of the strut or
pose by which egOtism forces itself for
ward as substitute for intrinsic quail
ity. His mastery of method is SO fine
that technique is forgotten and the emo-
ton he SO evidently feels is the one idea
impressed without thought Of studious
preparation or craftsmanship. 1t is one
OF the examples of art that conceals art.
The famous Grafton scene is wrought out
with extraordinary closeness of detail It
Is not. as usual a defamation, but a
single-handed conflict of wits and will
against the fury Of mob. 1t is more
than beautiful recitation in that it
brings forward a sense of leadership and
dot 4
interest even beyond that of it's oratori-
cal magnficence.
AS Brutus Mr.. Berton Churchill plays
with studious earnestness. He is well
equipped for the part physically. and de-
livers his speeches with the repose which
naturally associates itself with the char
acter OF the man who has put a sense Of
patriotic duty above all personal con-
Germs.
Fuller Mellish goes a long way toward
settlns right a certain incongruity which
ordinarily makes Caesar, the master spirit
OF history. only a subordinate figure in
the drama Mr.. Mellish gives it the
benefit of artistic experience and makes
the caesar of the play a man of strong
Individuality, consistent with traditional
Impressions.
In the matter of scenery and costumes
1t is difficult to imagine how the produc-
ton could have gone further. The mob, |
even though there was a disposition to
slightly overindulge it in the time allot- |
ted to its demonstrations. made a pictur- I,
esque and forceful adjunct of the per-
Torrance. There was not a line deiiv-
cred even from the most obscure partici- |
pant in crowded scene that did not |
seem to ring with eager intensity
Miss Julie OPP is content to apply to |
the limited opportunities of the role of |
Portia the exceptional abilities which |
usually render her work a feature of
great responsibility. Miss Jane Wheat
ly as Calpurnia does the little that falls |
to her share with convincing effect.
The reception given the production
amounted to an ovation.