New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-11-26

The first, most interesting fact TO De
observed in regard to Mr. Monroe Hew-
let's scenery for Gluck's "lphigenia'
is its freedom from so-called modern
istic tendencies 10 rs not old-fash-
ioned but neither is IL marked by any
straining after effect The designer rs
not unsympathetic TO the progressive
elements in the work Of Bakst, Gordon
Craig and others Of the newer school,
and he is az pains 10 make the best OF
oTpedients Of lighting, but in the solu-
tion Of his problem he has avoided the
disposition Of the latter day revo.u-
tiouaries TO think a little more Of their
theories than Of their subject. Mr..
Hewlett has had the inspiration, the
tact, 10 remember his composer. That
is the secret Of his almost unqualified
success.
70 is easy to imagine how a super
subtle artist, full of enthusiasm for
the essences Of things, might 20 about
the scenic investiture of "Iphigenia.
lie would at once lay stress upon the
carly Greek origin of the story and 60
straight 10 Mycene for his architect
ural motives. So far, so good. Mr..
Hewlett is not unmindful of classical
lore. But Gluck was no archaologlst.
one can see Internationally speak
ing-loohng for pedantic verisimilitude
in the Paris opera of his day. If he
had been naive enough for that he
would have gone quite out OF his head
in the awful chaos into which he i'm
troduced his novel conceptions. But
though his ideas were new, he was very
much Of the eighteenth century, and
that dramatic painting" for which Dr.
Burney applaudcd him, those "theatri-
cal effects" with which he revitalized
the lyric art, require in their
background the peculiar quality OF
eighteenth century style-which is to
say, golden mean. Mr.. Hewlett hs'
proved IL
In the massive structure which dom
mates the first act-and the last
frown.ng down upon Diana and her
altar. he emulates the noble simplicity
Of the Homeric age, but not its rude
ness. He uses an heroic scale yet
keeps his scenery in relation TO the
figures on the stage. IL is so again in
the temple scene in the second act
where generously spaced pillars inclosc
the action, exposing az the back
glimpses Of the sea and sky, with trees
silhouetted against an expansc Of softly
glowing color. The breadth and weight
Of an archaic world are there, but TEN.
pered by grace Of line IN the pillars. by
the decorative play Of the trees aforc.
said, by the rich orange and black OF
the huge canopy and by the quiet gray
tone adopted for all the masonry. In
both these scenes he gets a really beau.
tiful picture, right in proportion and
exactly adjusted 10 the exigencies Of
the drama. The great desideratum il
theatrical scenery is that it should en-
Nelop the action. not merely fence 81
In; that 10 should be, especially In suci
a classical instance as this. large, free
airy, and al the same time disclose ne
empty, meaningless, dislocating spaces
Mr.. Hewlett's scenery exercises vali'
function. II contributes absolutely E,
the atmosphere which Gluck aims q
create.
Il does so in the exterior scenes
The small room which serves for tn
third act, not without 4 certain charm
in ITSELF is little diseoncerting
Previously, and afterward, the tragi
sentiment Of Iphigenia" seems 20 b
developing in its natural onvironmen
Of glorious nature and monumental
architecture. The note Of grandeur 81
humanized, but kept on plane o
stateliness. In the interior scene It Il
humanized somewhat too much. littl,
this side Of the indefnsble but keenl!
felt standard Of sheer style, sheer dis
t'netiou, belonging TO Gluck and hi'
theme. An unfortunate association o.
ideas obtrades itself. The room ID
charming. yes. but we wonder whore We
have seen something like IL before, enc
thcn. with kind q shock, we remem
BERN almost any modern house wher,
cartridge paper covers the walls and a
pretty frieze tops the whole. In Mr.