The Detroit times., 1914-12-22
DETROIT OPERA HOUSE.

ION Trial" one OF the most recent
New York successes, Is being present
ed In the Detroit opera house this
week. II is play by a new author.
Elmer l.. Reizenstein, and drama
that is new also in It's arrangement
and in the unfolding OF Its plot. II is
melodIama, the keynote Of which is
emotion, and the success OF which Is
won only by very strong emotional
acting. II was we'll received Monday
evening.
"On Trial." as its name suggests, is
court room play, but IL differs from
others OF similar nature, In that the
causes for the trial are not known un-
III the testimony Is given, when the
scenes revert to the time OF the crime,
and to the events preceding IL. The
opening and closing scenes OF every
net are In the court room, the inter
mediate scene being the place talked
about by the witness.
The dramatic moments are many.
and thrill follows thrill as the turns
in the plot work themselves out
There Is the moment in which the
defendant. Robert Strickland. dtscov-
ers the relations between the slain
man and his wife. and with pistol In
hand rushes TO this mans house,
while his wife In frantic haste en-
deavors TO warn Trask, OF his danger
not because she cared for Trask
still. but because she feared the re-
suits on her husband
But by far the most impressive mo-
ment OF the whole play comes in the
testimony OF the wife, who Is taken
from the hospital to testify. Her story
goes back 13 years, to the time when
Trask himself, though married, elopes
With her, promising marriage as soon
as q minister could be found. The
father OF the girl and Trask's wife
catch them and the misguided girl
screams and faints as Trask deserts
her.
Though all OF this sounds much like
the blood and thunder" Of the old
time melodrama, there Is really none
OF II In the presentation. The ability
OF the actors. every one Of whom prov
ed himself or herself perfectly capable
OF emotional acting, kept the drama
from the common place and made 1t a
highly dramatic. thrilling play.
Mrs. Strickland, the wife OF the de-
PENDANT. was enacted by Emily Ann
Wellman, and though she had the
most difficult OF roles, she encompass
ed its dramatic moments and it's ten
der emotional possibilities with equal
ability and success. Her playing won
for her the utmost approval OF the
audience. Lee Baker, as the defend
ant, also had hard role TO fill. but
was equally successful.
Much credit should be given TO
Maxine Elliott Hodges, who took the
part of the little daughter of StricB'
land with wonderful ease and natural,
ness. Her work added a note OF
pathos and affection TO an otherwise
too harsh play. Harry G. p. Browne
as the slain man, Helen Lackaye, as
his widow, and Harry Mestayer. as
the secretary, were admirable in their
respective roles.
"On Trial will be in the Detroit
all week. -
GARRlck.
A shutting, snambling, singing
riot" is being staged In the Garrick
theater this week where Neil O'Brien
and his company of American min
strefs are holding forth for one week
Of their third American tour.
A marked departure from some or
the time-honored standards OF min
strelsy serves to strengthen O'Brien's
claim to originality.
The first part presents "The Futur-
ist Atelier." This feature, which Is
unusual in its setting, furnishes an
opportunity for the display or some
marvellous vocal ability and great
deal of side splitting fun.
Harry Van Fossen and Neil O'Brien
lead in the fun-making. O'Brien's "Ab-
solutely No" and sixty Cents an
Hour" slap at the plumbers. being
particularly funny. The first part
closes with travesty from the quar-
tette from rRigoletto." in which
O'Rrien is convincingly proved chick
en- thief.
Then comes 1.-THE Ebony Club Gam
boil" new terpsichorean conception
directed by Pete DetZel. Eddie Mazier
and Major c. Nowak, the latter a most
amusing little drawf, get most OF the
laughs. This is the "shufflin'" part
of the program. though and most OF
the interest is excited by the dancers.
Nowak shows some surprising ability
for one of such abbreviated limbs.
Pete Detzel also contributes some ac-
centric footwork in The Man With
the Icy Feet"
Neil O'Brien's own Demon Rum"
or "A Dry Town" is real laugh Pro-
queer. 1t tells of the experiences OF
two darkies in search or work-and
a drink-who are hired by the mayor
as anu ny Ihc O"hti VI
blind tiger as lookouts. Their efforts
to fill both jobs and, at the same time,
get plenty of corn juice under their
own skins are extremely funny.
Harry Van Fossen next produces
funny monologue and the performance
is concluded with Uncle Joe's
Dream" picture of days gone by In
song and story.
While not an unusually large min
strel organization O'Brien's troupe
makes up in real ability what 1t lacks
in numbers.
The most conspicuous vocal num-
bers are furnished by David Morris,
basso: James Barardi, a remarkable
tenor: Leslie Barry, baritone; William
Curran. tenor: Charles r. Wright,
tenor, and George f. Peduzzi. BARI
tone.
Nell O'Brien, Eddie Van Fossen,
Eddie Mazier, Pete De,zel, Caspar
Nowak, William Doran, Charles Strong
and Steve wehrer do the funny stunts.
The orchestra is unusually good.
In addition TO the regular Wednes-
day and Saturday matinees special
performance will be given Friday aft
ernoon.