New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1917-01-02

By HAYWOOD BROUN

BY HAYWOOD BRObN
"Seremonda" is a romantic tragedy
in heroic verse. The verse is respect
able and the dramatic workmanship
moderately sound, but IL is not enough.
We are told that within the red wine OF
Roussillou there fingers drop Of
blood. but that drop OF blod is lacking
In "Seremonda" Il IL pedsstris n
sort Of tragedy which could be writer
on a typewriter.
There was once q professor Of Greek
who maintained that the ancients, even
IN the bosom Of their families. would
never admit that they were ancients,
and we haven't doubt that somewhat
the same state of mind existed IN
Southern France during the twelfth
eentury. II il our belief that the folk
OF that day walked az brisEy as the
moderns and talged in no more meas
ured tones. Life was not whit more
formal. "Seremonda," except IN one
act. lacks pace. The death Of the hero
inc would be Just as poignant II IL
occurred before 11:20 o'clock.
However, il is not mere length 10
which We object The story unfolds
much too slowly. The second act, for
instance. is almost wholly an eKpository
ACT. With no great difficulty 1t could
be snatched out, and this would be
thrice desirable since IL would hasten
the coming OF the third act, which IS
live interesting snd dramatic through
ont For this William Lindsey deserves
thanks and censure. There shou'd be
rood will for a good act, but displeas-
ure because the standard IL not main
tanned.
The actors enjoyed themselves hugely
last night and did well. They had cos
fumes to wear and lines 70 speak WIN
now and again chance to rant DIT
and tear the air 10 tatters. The volume
Of sound which came from the stage OF
the Criterion was prodigious, but, on
the other hand, 10 is fair 70 say tnst
words we're distinctly uttered and tnst
there were good voices n the cast Al
most any line assumed dignity when
snoken in those beautiful deep tones OF
lula Arthur. She was partly RESPONSE
ble for the excessive formality OF the
play, but II is a good voice for all or
pictorial possibilities Of her part
The play il we'll eostumed and hand
somely mounted. although in setting, as
in the verse, there was more weight
than imagination. Alphonz Either was
the hest member Of the supporting
company. Particularly good was his
Falstafian touch in the banquet scene.
This would have made the character
more interesting IL il had been brought
out earlier. Another pleasing perform
snce was that OF Robert W Frazer, as
Guilhem.
The story Of the play is we'll in the
mood Of the Middle Ages. lt is good
and simple story, which is known IN
many a romantic tale and ballad. Raj
mon, tho warrior. goes 20 the Holy
Land and at the end Of two years news
comes that he is dead. Seremonda
never loved this harsh and brutal lord.
who had married her by force, and she
welcomes her widowhood, since II
makes her free TO marry her LORDS
vassal and friend, young Guilhem, the
troubadour. But just at the moment
that the two plight their troth the horn
Of Ramon is heard at the castle door.
Guilhem does his best TO conceal his
love. but Seremonda convinces him
that she cannot live on with Ramon.
He must kill his lord In fair fight.
And so in the great banquet hall Gull
hem sings his love for Seremonda so
boldly and so openly that Raimon
knows. The next day the men meet
in the forest with boar spears and
Ramon returns alone to the banquet
nall The dish he serves for his lady
IL the heart of Guilhem, but she IS
minded to Join her lover in paradise
by plunging from the high window OF
the castle.
The scene OF the reveslment OF the
love comes in an act full Of juggling
and acrobatics and songs. A bear IS
promised but not produced. And al
the while you wait tensely for the mo
ment when Seremonds shall drop her
fan, as the signal for Guilhem 70 sing
and tell Of their love.
The moment in the last act when
seremonda slips through the bars ana
leans from the window is also effective
but the preparation for this action Is
excessive. Tn possibility OF sucn an
ending is planted with too much care
Early in the play Seremonda proved 70
ths audience that she could squeeze
through the bars. They never doubted
u Miss Julia Arthur Ia y excellent
trim. Ramon. the wine bibber, canh1'
follow his wife, because Of his grin,
hut the obvious moral OF this state o.
affairs is not developed.
There was enormous enthusiasm al
ter the third act and more flowers ma"
have been seen in any New YORK InsH-
tra since the Dolly sisters played mere
last. William Lindsey made mosI
feIicitous and graceful speech. in when
he expressed the hope that people
would support Miss Arthur in "Sere-
monda." since he felt that romantic
drama belonged on the stage and that