New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-12-02
BY HECTOR TURNBULL.

By HECTOR III RNBt Ii.
Polygamy,'we learned from a curtain
speech b. Mary Shaw last night at the
Playhouse, Is IAN attempt TO get more
out OF life than there is in it." II this
statement indicated the purpose of the
authors in writing the play "Polyg-
amy" it may be said at once that they
succeeded in proving their case most
effectively. After watching two young
couples struggle to keep their love sa-
cred against the insufferable dictates
Of the Mormon Church, for four acts,
it must be quite clear to the dullest
intelligence that polygamy is not
for such lovers. Like most plays
however, that are built primarily to
expose an evil practice or a social
sore, the dramatic value of the work
suffers somewhat from the eagerness
Of the authors to bring home their mes
sage. An elaborate web is built about the
central figures in rebellion. and after
1t has been shown in all its menacing
impregnability for three acts which are
sometimes tense and always interest
ing, the play ends with the rebelious
characters freed, to love and be happy
by the simplest of devices-escape.
Which method, Of course, with all the
material and religious sacrifices it en-
tails, has always been the refuge of
people who found their adopt
ed faith 70 become incompatible
with stronger human love. Such an
ending 10 so engrossing a situation
cannot fail 10 cause let down in the
interest of the audience and therefore
weaken the effect Of the entire play,
and all the shrewd nd clever obser-
vations on conditions made by the
authors throughout the course of
their arraignment of the Mormons. One
would infinitely rather forego the con-
ventional HAPPY" ending to so unusual
work than see its force tempered by
such commonplace expedient.
Since Stevenson's tale of "The
Dynamiters" many stories have been
written TO show the tremendous power
and influence of the Mormons who have
their headquarters IN our Western
state. In "Polygamy" we see its power
again directly applied to a young man
who turns apostate; 20 young widow,
who refuses to marry another man, al
ready married, because of her love for
the dissenter, and TO a young married
couple, hitherto in good standing with
the elders, because of their refusal to
accept in their own home the practice
outwardly denied by the Mormons, but
secretly condoned. even commanded.
In the development of the plot. with
the young apostate for their mouth
piece, the authors show in high colors
and with dramatic effect Just what
polygamy means 70 any woman intel
lectually conscious and of normal SEN
sibllities. All the deadening effect of its
practice is startling drawn in the con-
trasting characterizations of the diff
ferent types of women who have been
subjected to its savage influence. The
far-reaching grasp Of the Mormon
Church upon national politics, as well
as communistic affairs, is also present
ed with surprising directness in the
scene in the Temple, when "the mouth
piece of God" is shown arranging for
the boarding of millions or the pas
sage of a national law with one hand.
while he orders women 70 a sanctified
harem with the other. This par
ticular scene and one or two others of
its kind should make the play of more
than ordinary interest 70 women, if
only for the human appeal of the
problem, although such a sincere pres
entation of conditions deserves
deeper consideration from the voting
male.
The authors were decidedly fortunate
in their Voice." William B. Mack,
who did such splendid work as Joe
Carson. in within the Law" As the
apostate he brought such sincerity and
conviction TO his role of the desperate
victim of the faith of his fathers, that
the play gained perceptibly in strength
every time he appeared. His sullen,
hopeless struggles and TRADES against
the Church and its horrible machina-
tons were only another prof of his
skill and intelligence as a player.
Chrystal Herne. returned TO Broad
way after A considerable absence. gave
a painstaking performance of the
young wife. Her playing is always a
pleasure TO see, but this role does not
offer any particular opportunities for
her best efforts. Mary Shaw, who
seems always able to make the most
meagre role effective and prominent,
played one of the many wives Of Elder
Tanner, and won a warm appreciation
from the audience for her fine per-
Torrance.
Howard Kyle gave distinction and
certain command 70 the Prophet, and
Stephen Wright turned Tanner into a
very formidable villain. Katherine
Emmet's Annis was an exceedingly able
performance. and Ramsey Wallace
played the young husband without dis
tinction. but with considerable earnest
ness and control. The cast is tong one
and appeared on the whole we'll Sc
lected, although the latest Importation
in wives, who fed at last with the
fugitives, should be made less laugh
able object If there is 20 be a proper
! how Of interest in the last scene by
the audience.
Last nights audience was obviously
A friendly one, SO any judgment of the
popular appeal made By the play is i'm
possible at this time. IL is, however,
Dy virtue of its subject alone, we'll
worth a visit, and there can be no doubt