The Salt Lake tribune. [volume] (Salt Lake City, Utah) 1890-current, 1913-03-30

a uktlN CdnQldate Tor governor. Is an
aSltator who has stirred the people
into a consciousness OF their rights
and powers. He is sincere. earncs,
and determined: and is not hampcred
by sense OF humor. except In such
cynical observations as that the pub
lie attitude is 'igu ahead and be
hero save the country; but for
Gods sake don't bother us too much
while doing it" He has become dan
Serous TO Whalen. So the boss
touches him on his Achilles heel,
telling him OF his son-inlaw's crime,
the exposure Of which would bring
ruin 10 his daughter and his grand
child, This leads 10 the big scene
OF the play. Tho rcformcr is rcso-
lute before the boss's arguments and
threats-evcn before his humor:
Quit playing at being God and be
human" says the Irlshnan. But
when Whalen has gone and the dis
trict attorney has TO tell his daugh
Ter. he breaks down and ultimately
agrees to do everything lie can to
save her husband. This, al the rather
indefinite conclusion of the play, he
appears in fair way of doing. but
TO thai end he has resigned as dis
trict attorney, A abandoned all hope
of the governorship and pledged him
self 10 the legal defense Of his SON
in-law.
EEW plays this season have been so
y well acted. As the two men about
whom the action revoIves. George
FaWcett and Frederick Burton, are
wcll-niSh ideal, with the former max
ing the more decisive chit only be-
cause the role OF Whalen Is the moro
interesting and engaging OF the two.
Katherine Grey, as hardly need be
said to anyone who appreciates the
best in modern acting and has seen
her. plays the young wife with un-
errins Intelligence and irresistible
sympathetic appeal. Lily Cahill. Vim
cent Scrrauo and Roy Falrchild MI
the other consequential roles admir-
ably. Mr.. Poole has indeed been
fortunate in his interpreters; he and
they should be much obliged 10 one
another,
Is our long. long period OF waiting
i for the plays of August strlnd
berg finally at an end2 The thought
seems almost too good 10 he true,
But why not? We now have our
intimate" theaters. like those of
Germany and other European coun-
tries for which StrndberG was
these brief, penetrating word studies
in psychology that inspired Austin
Harrison to lillen Strindberg's place
in the theater to that Of Guy de
Maupassant In prose fiction. Intel
lectual Europe has had Strlndberg as
long as 1t has had the realistic plays
of Ibsen--that is to say, for about
thirty years. The first production OF
ono In New York tat least, the first
in English and professionally came
taneously with the erratic authors
death, Now we get Tho Stronger
and "Parlah," the latter acted by
two men and the former by two wo-
men. Qn speaking OF Strlndberg, one
must always mention women sec
ond-he never allows us to forget
his opinion OF the female OF The
apec!es.)
THE dramas-in- cameo were pre-
u sented under the auspices OF
the drama committee OF the Mac
Dowel1 club. with such men AS Prof
Brander Matthews, Winthrop Ames,
Walter Damrosch, John w. AleXan-
der and Arthur Scribner among the
patrons. and the acting was imbued
with that enthusiasm for q cause"
which adds vitality TO good art And
this was well, for such "actionless"
studies as these of StriudberG require
a lot OF acting. Frank Reichcr and
Walter Hampden played the latter
piece, and the sister of one and the
wife OF the other, Hedwig Reichcr
and Mabel Moore were in the former.
Add TO this the fact that tho trans
Iatlon OF 1.-THE Stronger was made
by Warner GLAND and wife. and tho
".
However, the several couples did not
emulate the Cohan dynasty and come
before the curtain holding hands and
kissing one another. Indeed. the only
osculation consisted OF Edwin fjork-
mans verbal kisses at the shrine OF
his master. In a laudatory talk on
Strindberg, which preceded the
drama.
UNLESS l am much mistaken Pa
VI j
siastio BJorEman, has in a sense.
come home TO roost. for j think the
Swedish dramatist took his theme
from Edgar Allan Poe. AT first. the
duologue appears 10 be only a study
"a very subtle Study-iu detective
tify crlmlnality in another by his
unconsidcred action, by his speech.
by the involuntary trend OF his
thoughts, The man under the men
tai microscope is indeed a forger, an
utterly immoral reptile. q criminal in
soul and mind. But the other, the
strong. straightforward citizen, car
ries the memory Of having killed a
punished for, IT.. yet, the forger has
was wholly accidental. though cven
homicide Is punishable under Swe-
dish law; and 1T occurred under cir
cumstances that made detection i'm
possible without voluntary confession.
So the man has lived an upright life
with the secret hidden In hts heart
Hearing 1t, the degenerate endeavorB
to use tho knowledge to blackmaIl
him into cooperation in a robbery:
but the assassins will Is far too strong
and resolute. Tho interest Of the
drama, however consists principally
In the Independent, vigorous and
modern thoughts on criminal differ
ences and degrees and on moral re-
sponsibility toward oneself. ones fell
low men and the law. which enrich
the discussion,
MORE peculiar, in a way, and yet
4yA less remote from conventional
drama, Is 1.-THE Stronger" through
out which ono OF the two women re-
mains in eloquent silence. 1t is
Christmas eve. Two actresses meet,
by accident, in women's cafe. Ono,
married. Is bright with scasonable
love and happiness. her arms filed
with gifts fol. her husband and chill
dren, The other unmarried, Ia alone
and lonely, In less than twenty
minutes the innermost emotions OF
two women are laid bare. with a few
illuminative hints about tho man who
has been the lover OF one md is the
talks; the unmarried actress simply
Once. and only once, she makes a
yound-a shrill burst OF derIsivc
laughter, For II is evident, az the
wife's trivial condolences are famed
Into reproacbes and finally into a
10 ma ~ dcHapr ioaIOusy md