The sun. [volume] (New York [N.Y.]) 1833-1916, 1916-04-04
"susuce"-At IN, Gambler rhessr..
Is still further a%ggravation OF the con-

Is still further a~ggravation Of the con-
vict's suffering.
The officer Of Scotland Yard come. TO
seek him out as the ticket of leave
man w'lro has not reported. lie must
go back. The weak victim OF society
succumhs then 20 tho weight that is
crushing him While the officer is lead
ing him to prison again he throws HIM
self from The balcony and IS brought
dying into the presence of the woman
and the men WHO had figured In his life.
This il the last that prison conditions
~ they prevailed In England when she
play was written could do for him.
Mr.. Calsworthy's modern tragedy is
like all tragedies of every day life. mean
and without elevation or beauty. But
II is AZ direct and unswerv!ng as the
antique play OF the same kind. There
are pity and terror and little else In It's
Scenes. They arc profoundly impress
sive and revolving in their sonbre nor
ror only in tho parade Of the %convicts,
who are brought before tire audience
suffering from the effects OF their con-
finement- As the wardcr and the gov
ernor open the door of n cell after an
other II Is impossible TO get away from
the sensation OF visiting a chamber OF
prison horrors This scene reaches u
climax when the hero. like a Gagged ami
NAL in his cell. irresistibly led on by the
action OF the older prisoners. who are
rounding on the doors OF their cells.
| throws himself in desperation against his
own and beats with his fists as II lie
were trying to- beat out his life against
| the barrier between him and the world.
| The trial scene. which occupies the
second act. does nothing for the play
from a dramatic viewpoint. n docs not
advance the action. All that II reveals
IL clear 20 the spectators when the cur
tain falls on the first act. But 1t was
evidently the purpose Of the playwright
to show that the injustice against tho
criminal begins at his trial when the
appearances are not on his side. This
scene, like the rest OF the play. has IT'S
lengths. but they are more noticeable
hero because there Is no novelty In what
tho scenes reveal.
II would he difficult 20 inacin n
! finer performance Of the play that 1den
| Payne had arranged for his managers
There was not a character. unless II b'
! the artificial Judge in the trial scene. wfho
was no, exactly fitted 10 represent the
, parsonage he was supposed 10 no.
Galsworthy's play Is written in his
usual tense. powerful English. which
does not always sound the way people
IN lie taik lot luSihHce' nv puo'he'o''
Of Shakespeare by the junior partner
and the prison governors reference to
"our maker OF saws" All these lines
were we'll delivered. Then. the action or
the piece as Il progressed from scene 10
scene was splend-lly natural and LIE
like.
John Rarryrrore looked like the victim
Of fate the minute he appeared. a weak
ling, shifty in glance and already suffer
ing remorse for the crime he Rad COM
mitted. lie was finely sincere and natural.
direct and restrained IN his choice SYM
bols. lie has never given a more inn
pressive performance. 'athleen Ncspltt
as the unfortunate woman who led him
to the crime supplied by her glowing per
sonalitv the necessary warmth and color
10 tn. scenes In which she appeared
Henry Stephenson. Lester lonergan.
who delivered n long speech with ad-
mi,able variety Rupert Harvey. Watson,
White-they were all capable and nat
ural actors In the long liSt which fol-
lowed q = lleEgic, who played the
lovable and benevolent old clerk with the
utmost sympathy u tenderness.