Evening star., 1915-11-09
New National.

novel by Herman Sudermann, the
eminent German writer, that finds its
way to the American stage in pecu-
liar and interesting form, furnishes the
essentials of this weeks presentation
at the New National Theater. The
Song of Songs" reflects vital idea and
is study of human character with the
frank, unf1inching purpose of the VlVl-
sectionist. 1t has a merciless exact
ness that distinguishes the work OF the
European student and philosopher.
THE Song of Songs" refers to httie
lay of pure and sweet deVotloh' an
idealization of love complete, the only
legacy left by a poetic Greek TO ms
beautiful girl child before she drl1'eo
out waif upon the world How hei
ideals, tender and delicate, tnsed win
the imaginative fancy of youth. clutch-
ing only at beauty, easily mlstaklnS
the spurious for the real, are beaten
down. step by step into the shadoWs oi
shame and humiliation constitutes 'he
thread of the narrative.
So powerful is the idea and so com
plete the character Interpretation that
the hard rr,rdities which ARISE III the
course of translation from the German
into New York-ese are lost SlSnl OF:
The original poetic power asserts itself
in spite of obstacles in the way of eX-
treme colloquialsm which serve oniy
to shock the ear and contribute noth-
ing to the development OF the ilhpoi
tant idea. ,,
The central character is the antith-
esis of the selfish compelling nature
of a Hedda Gabler. The gentleness'
the truthfulness of Lily kardos are
portrayed with minute eXactltude.
Their uselessness as a protection is not
disguised. The scientist in human ma
ture assumes to point no particular
moral nor to go into profound specula-
,.,by in the eternal scheme
such things should be- He merely de-
scribes phenomena as they present
themselves.
The role of Lily Kardos is played
wonderfully well by Irene Fenwick. A
play of swiftly transient moods is sus-
tanned harmoniously, yet vividiy- She
gives the role an ethereal sweetness
which holds sympathy every moment
of the time and maintains her in dis
tinct superiority to the atmosphere OF
degradation into which she has drlfted
through her innocence.
An element of strong fibered flesh and
blood is contributed by Hardee Kirk
land. He represents the small politi-
clan who. having toiled and striven
mercileSSly, is unrelenting in his pleas
ures as in his ambitions. There was
not the least trace of staginesS in his
presentation of the role of Daniel Cal
kins. Every tone of voice and shadow
of facial expression was accounted for
by the processes of the mind which ami
mated the character. 1t was something
better than good taste which dIstln-
guished Mr.. Kirklands performance 1t
was minute discretion and intellectual
ity, studied disregard of the pictur-
esQue for the sake of the truthful.
Cyril keightley is another point of
reliance without which the presenta-
tion would prove but flmsy structure.
The impression that he is acting is
never allowed to assert itself He is SO
spontaneous, so real, that even the sea-
soned playgoer forgets the mechanism
and contemplates his work with the in
terest that would attach to impromptu
demonstration. Mr.. Kirkland must be
credited with that rarest of gifts. the
art which conceals the art.
The third important man in the story
of how little girl was cruelty cheat
ed, the one whose duty it is at last to
break the butterfly upon the wheel, is
the jovial old seafaripg chap. who
knows the works and it's wea knesses,
and is too well acquainted with human
nature to Judge generously. The part is
played by the favorite actor. Thomas A.
Wise. in a manner which commands the
same warm appreciation which has
been extended to him when the center
of the stage was his, not merely for
scene, but for an entire evening.
Richard Dix appears the young
student to whom Lily Kardos turns at
last as an expression of the love and
'"The Song of Songs" which fingers
despite cruel experience as her guiding
influence Mr.. Dix plays the part with
a naturalness that is sometimes abrupt
and yet not out of key with the spirit
of work which assumes to make
record of human nature without malice
or extenuation. Some good character
bits are contributed. among them
felicitous portrayal by Miss Florence
Huntington.
The conclusion of the play strikes no
definite ground an appeal to SYM
pathy or blame. Lily Kados does not
east herself into reckless despair. A
saved from absurdity only by the ex-
cellent acting of Miss Fenwick.
reconciliation with the man who first
loved her is made possible only by the
Introduction of a strange type of hu-
manity, one which bears evidences of
ties of the underworld, which have been
so industriously exploited before a
theatrical audience.
This Richard Laird, who has succeed
ed in sitting the natural jealousy of
virile nature, who is willing to forgive
anything rather than sacrifice a COM
panionship which he finds necessary to
pravtty only by the acting of Mr..
Keightley. He makes the role exhibit
candor of self-analysis which renders
it almost dignified and permits the he
roine of the gruesome narrative to live
happily ever after. despite her bruises
and her tears.
Five handsome stage settings are en-
ployed AS it reflects Suderrnann the
play Is philosophic analysis: as IT re-
fleets adaptation it is a characteristic
study of viciousness for its own sake.
The performance compels interest and
wins admiration even where it cannot
command approval.