Harrisburg telegraph. [volume] (Harrisburg, Pa.) 1879-1948, 1914-10-13
'EVERYWOMAN' A
GREAT MORAL LESSON
Alice Baxter Supported by Superb
Cast Presents Twentieth
Century Allegory

"If Everyoman be lead by Truth.
is the lesson taught by 'Everywoman," i"
presented last night at the Majestic
Theater before a capacity house.
Everywoman is a twentieth century
allegory modelled after the style of the
moral play 'Everyman," probably the
best of the fourteenth century plays.
Everywoman's vices, virtues and con-
ditions are all personitied and imper-
sonated by characteristic dress and
actions. so that none of their meaning
is left to the imagination. Hardest OF
all the characters to understand is
Nobody, and not until in the fourth
canticle is the full significance of his
prophecy, when Everywoman, listen
ing to the voice of F'lattery goes in
quest of love. brought to the audience.
The play was not intended as a
stage preachment. Walter Browne
wrote 1t expressly as form of amuse-
ment and diversion. Through 1t he
drives home few truths which Every
woman has forgotten. AS a source of
pleasure, Everywoman can never fail
of it's mission. No class of stage pro-
duction or music is lacking; the
morality atmosphere of the miracle
play; the chorus of the comic opera;
the gay New Year scene on Broadway;
the home" atmosphere; behind the
scenes of the stage; the symphony
orchestral; the ballad" of Conscience;
the lighter music of to-day as we'll as
the character music'-all go to make
up Everywoman. And through it all
the forceful truths of genuine love.
Everywoman has two messages for its
audiences. For Everywoman search
ing for love, there is a kindly warning
that love is ever born of truth" For
everyman there is the admonition of
Nobody in the epilogue,
BE just. be fair.
To Everywoman, everywhere,
Her faults are many,
Nobody's the blame"
Everywoman was presented by the
only company now playing the show
Miss Alice Baxter was seen in the
title role, and her work might be
fairly characterized as all that one
could desire. But it would be unfair
to stop there for Miss Baxter was
supported by a cast that was perfectly
balanced. Every character, symbolical
of something. had to play his part or
that plane which the tenor of the
play demanded. And one of the most
pleasurable features of the perform
ance was that every character played
his part with that accuracy of de-
manded symbolism as to present a
perfectly rounded production. To dis
criminate is impossible; but one
cannot refrain from remarking upon
the voice of Conscience Norma Hark)
Small and sweet and of charming
purity, Miss Harks voice admirably
fitted the part for which she was cast
Nobody who barred the pitfalls" OF
Everywoman to the audience was es.
pecially impressive. The orchestra
under the direction of Fred Rycroft
played the twenty-siX numbers es-
pecially written for Everywoman by
George Whitefeld Chadwick. The
music is largely symbolical, giving
almost every character a motif which
is introduced at the various intervals
when that character appears. The or
chestra under Mr.. Rycrofts direction
was a delight.
Everywoman teaches us a great les
son, whether it was or was not writ
ten for that purpose. And it affords
entertainment as we'll One feels nc
hesitancy in saying that Everywoman
is a show which, after it is over
might be Immediately repeated.
MAX ROBERTSON.