Evening star., 1917-03-06
ADJUSTMENTS
New National.

new N6LlOUdl.
Nothing is more distinctively English
in subject and literary treatment than
the Shakespearian drama. yet there Is
no expression of thought or fancy that
appeals SO closely to the American
taste. 1t is not the privilege of the
poet as it Is that of the musician to
write for all nations. The delicTte
Kraces of idiomatic expression are pos
sible only where author and auditor
are thinking in common tongue. Far
apart as the collocuialsm Of Eliza
bethan London may seem from the
breezy slang of an American metro
polls. Shakespeare and shorty McIape
speak the same language. America,
despite the cynicisms TO when the-
atrical managers are prone, demands
its Shakespeare. and every generation
finds some distinguished actor holding
an honora BILE and cleanly defined posi-.
tion as the recognized Interpreter or
the highest English-speaking drama
1t is not always an American who
holds the position. Public pre1udice
has faded far since the DAYS "hen
the relative merits of British and
Yankee actors became the subject OF
alterations and even of riots. All
that is looked to now is the essential
intellectually and the subordinate. yet
vastly important consideration OF ply
steal equipment; the equipment of
voice articulation and graceful CO.
ordination of nerve and muscle.
= AT the present moment it is an Eng
1ishman who dominates our American
sInEish-sneak king stage. The welcome
accorded Sir Herbert Beerbohm Tree
at the New National Theater last night
was emphatic and sincere. The per-
formance was meritorious and con-
sistent: work of art whose enormous
demands as to detail We're scrupulously
met and which preserved a fine sense
of proportion in the big effects and
impressions which constituted the dom
inant quality of the play. Henry VIII"
Though man of striking PERSONAL
fty, Mr.. Tree is not indiVldualiStic in
his method of play production. The
idea evidently uppermost in his mind
is to create a worthy and efficient
vehicle for the expression of the poets
own throughts and imaginationS Hav
ing established this line of artistic
purpose, he hewS TO it and let's the
applause fall where it may. There are
scenes in which the title role rivals
that of the cardinal himself. so far as
immediate impression is concerned. 1t
has the benefit of the comedy touch
50 dear to popular fancy. 1t lis
fascinating reduction of royal magnii-
cence to common human understand
ing, reminder that BARLEY Campbell's
old heroicism may be inverted to read.
Royal raiment is no more than rags
when worn in licenttous pursuit"
The role of Henry offers an oppor-
tunity for distinction, and this oppor-
tunity was handsomely improved by
Sydney Greenstreet The actor made
the most of the monarch's efforts to
satisfy his conscience without sacri-
ficing the pleasures of the world and
the flesh: not to mention certain grim
and jovia1 companionShip with the
devil himself Mr. Greenstreet did not
stop with the lighter and more genial
moods. but gave admirably artistic
Elimpses of the brutishly selfish nature
h lob 1l,- <1N
tives of such a character. What the
pomp of the throne lacks in true
majesty in this historic tale is sup
piled from the uity of the church.
Superior in though. and character, the
cardinal asserts himself with brilliant
supremacy, a supremacy which fails
at last only when it falls into a COM
mon error and values ostentation of
fortune beyond true and significant
power.
The subtle traits of character in the
cardinal. the quiet assertions of au-
thority, the swift recognition of the
vast results to which small causes
might lead, as-for instance, the kings
irritation with Anne Bullen-were mas
terfully portrayed by Sir Herbert Tree
Edith Wynne Mattison, whose per-
Iornances have been SO much admired
since she first aroused striking interest
In this city by her appearance in
Every Man." gives to the role of
Queen Katharine dignity and pathos,
preserving a ScnOiarly quality In her
work without lapsing too far into
pedantic artificiality. Anne Bullen was
we'll played by Elsie Mackay
The lengthy cast of characters calls
for no apologies. Mediocrity where it
may be present is not permitted unduly
10 obtrude. So beautiful is the scenery,
SO splendid the coStuming that Sir
Herbert in his curtain speech did not
strain a point when he said This is a
day of pageants. This morning 1 saw
your great pageant winding its way to
the White House. the inaugural cere-
mony. Tonight you have witnessed the
pageant of great historical events, one
OF the greatest of all times, and from
these events which you are witnessing
tonight sprang the reformation" The
curtain speech deserves more attention
than is accorded the customary and
perfunctory recognition of applause. He
referred TO the Shakespeare drama as
tie to bind our two nations, its Ian
guage. our common property and our
pride Let us hope" his speech con-
cluded, that out of all this turmoil
new order may come. Let us hope that
the double-headed eagle of war NAV
soon take its flight with broken wing
into eternal darkness We seem al
ready to hear in it's stead the vibrant
pinions of the Dove of Peace
1t is not often that Shakespeare is
interpreted by player who is thus
competent to prove his own capacities
Tor true poetic spirit, and for genuine
sympathy with the loftiest ascents of
iancy, philosophy and patriotic ideal
ism. 7