Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1915-06-09
"Iphigenia0 at the U. of P.

In spite of 5000 spectators, filling a great
smoothed slope OF the University Botan-
ical Gardens and fronting a rude Doric
temple; in spite of auditors like Mayor
Blankenburg, Provost Smith. Otis Skin
ner and who can say what others in
spite of brilliant feats Of costume. song
and motion; in spite of all the manifold
things that have been added unto the
genius of Granville Barker to make
the revival OF Euripldes' "Iphigenia In
Taurus" the most notable venture OF the
kind in America, one auditor at least felt
with the final chorus:
mine ears have heard
The Joy and wonder or a word
Beyond my dream, beyond my dream.
There was nothing here that could not be
fully realized.
Gilbert Murray. the translator, has
given the Greek dramatist of 400 B. c. new
poetry and through 1t new life There
can be no question OF that 1t was by his
work principally that you senssd the
glory that was Greece and the grandeur
that was drama In those dayz.
There was hardly an element In the
production Itself to which the failure
10 reach Attic heights could be blamed
The acting might nave been better at
times Lillah Mccarthy was occasionally
inandlble. though at other moments she
drove even a forced whisper out over the
crowd She sometimes pumped her breath
and heaved ner body with a painful
rhythm, while again she was almost
superb IN moments OF excited passion
Ike the great recognition scene. The
other players came of more evenly, IL
at a lower level
The stage MANAGEMENT seemed excel
lent. The diffieult chorus was handled
with real beauty. The rusn OF the herds.
man. a wild sort of person. and OF the
messenger had the qualities of primitive
Nlgor which are necessary even in what
We think OF as classic" drama Many
problem of entrance and exit. including
that OF Pallas Athena, was surely and
dafingly solved.
This setting and costuming achieved
more success than any other single fea-
tire of the production. Norman WilkIn-
son doubtless astonished many people who
Imagine that because Greek statues have
been washed free OF their vivid color by
The rains of the centuries, spartans-not
10 mention Taurians of this land OF muir
derers" went round In spotless white
robes with perhaps a discreet dido on the
hem when you recall the cleaning. paint
ed Parthenon, the darkly speckled skirt
Of oFastes under a gray cloak seems mid
Victorian restraint, When Mr.. Wilkinson
has 10 set on the stage the country
Where Ger a savage people aayagely
King Ehaos rules
il is a little foolish to object to his put
ting red reed skirts and hats on the sol
disfy. furnishing the king with a gay.
long robe and a Towering stan, or deck
ing the chorus IN robes ia which a ripe
orange and purple speak the primitive
time and a background OF black the sad
and solemn ofiiee Of the dancers. The
siaseeuiefung''- the Germans call the
whole art Of setting and costume-gave
fresh. new Yigor 70 an art that has
almost been ossided into boredom by
8 Ahits-Hohaa worship.
4eE Mr Wilkinson and the players.
atIn Granville Barker the producer.
behind them, couldn't quite bring IS the
eiorg Of EHripides IL Is the highest
compliment 20 say that they could make
- sanze lts fun and elusive existence
Ger fhe hEat time
Possibly II 8aa the audiences fault II
He haa worn Greek fobes-or hidden IN
fHs darkness af An evening performance
shsfe miahE uoz have been that incongHu-
z zeeiEuE OF madarnlfY out on a classi-
safqen party We might have con-
szea aH InH play as We do IN 4
adIe'qasls lighted theatre 1t would Gers
1alY Save been "a advantage Il hook
Iezs haan'l Efaselaad the aisles esaHg
Hss alHates p H We could have ala=