New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1917-10-06
Americas Foremost Stage
Folk Present Spectacle at
Huntington, /. |.
Receipts for Fund
Estimated at $40,O 600
Income From Moving Pictures
Also Will Go to the
Organization

Except for the disappointment Of
hundreds who went expecting TO sec
Barnev Bernard and Alexander Carr IN
their advertised roles as Russian Cos
sacks of the Don, the Rosemary rag
cant. presented yesterday for the heu
Cross by five hundred of the best known
rIavers on the American stage at the
oetate of Roland b. Conklin, Lloyd 5
Neck. Huntington, l.. l., went OH WIN
out misstep. 49,,
Ae matter Of fact, the something
less than capacity crowd that found us
vav bv motor and the devious ways OF
the Long Island Railroad to the Rose
mary open air theatre was more Una"
repaid for the journey by the as'onish,
inclv fine spectacle which the pageant
directors presented.
The occasion was an extraorulhnly
one. not only by reason OF inc 9@.se
which gave it justification ana nc
bcautv and variety Of the scene; puI
emaliv because Of the fine iacili'IeS
that the Conklin open AR hmphI'he"
tire affords for pageantry- Al .o,,s
A sIonine circular hillside with seats
- TORS became the auditorium WY"
the stage formally separated from ,lle
audience nv a semi-circular moaO'
Jotted at times with white swans 10
nnnctuate the dark blue of the arr.
fcially tinted water. But the mos
served other purposes as Wen. O'u
men of the sea- round nan uU"''
Of tbem-and mermaids so prohclehI
tbov might almost have hailed from tne
Uirrodrome tank splashed around ID
II and down it's curving waters foae
King John on his way TO meet the
barons at Rurnymede
The pareantry itself. presenting so
many stars Of the stage that IL tooh on
the appearance Of a living lndeN OF lhe
modern drama. was divided INTO Two
narts. The first part was an informal
and somewhat episode and dcIacheu
presentation Of great scenes from MS
torv-scenes that have a hearing on
mans eternal struggle for his Liberties.
Tho composition of the pageant was the
work Of Joseph Lindon SMITH OF
Boston.
Second Half Stirs Emotions
The second half Of the programme
was a pageant-masque, The Drawing
Of the Sword by Thomas Wood Ste
vens. director OF the pageant enter
prise on the whole and head OF the ae-
partment of dramatic arts Of the Car
neeie Institute Of Technology. II the
second part Of the programme was
more satisfying than the FIRST II was
because of its Difference to some OF inc
conventions Of composition, It's unity OF
theme and its definite appeal 10 the
emotional contemplation OF the great
war that seems buried under the sur
face Of audiences everywhere.
The episodes Of the first pageant DIS
closed glimpses OF Greece IN me
Golden Age. Renaissance italy MeGi-
rival Flanders, England Wrestling the
Magma Charta from stubborn KING
France at the time of the Maid, and a
Russia old and new. Their picturiza-
tion was absorbing, but the French ana
Russian scenes we're more than oral
b. narilv attractive, not only richIy cos
TUNED from the treasure house of the
mast. but cnlivened as well by a con-
nectod narrative.
The Russian scene was presented un-
der the direction Of Mrs. John Alden
C,rpenter. of Chicago, and disclosed a
market place full of gay colors and
decorated by group Of dancers from
Adolnh Bolm's ballet. The shadow OF
tvranv fell on the market place with
the sudden entry of fugitive, followed
swiftly by his pursucr and has tram
q disguised John Barrymore, sitting a
horse and looking more eyll and
Machiavelian than he ever looked as
Ibbetson.
Jeanne dare Appears
The French scene showed the court
If Charles VII. the visit Of the peasant
girl of Domremy to the King and his
coronation at her hands at Rheims.
Among the well known persons taking
mart were Ina Claire, as Jeanne dare;
Guv Favicre, as the King; Eugene
O'Brien. as the Herald; Vincent Ser
ranno. as the Chamberlain; Mrs. Ben
Ali HaCgin, as the Duchess d'Alen-
court; Jeanne Eagels, as Jeanne de
Clairmont. and Brian Hooker, as the
Cardinal of Rheims. William Rock was
a right merry lester and Frances White
so saucy q page It seemed pity mat
night would have TO find her back IN
the more garish light OF Broadway.
The final episode OF the INST paEt was
representation OF THE triumph oil
War" with Edith Wynne Matthson
reading a digniied text with some
what more significance than usually hes
I'm her measured tones ana with Faul
Swan as a rampant war god. some Oh
? the we'll known actors and actresses IN
the other episodes were Ethel Barry
more, Adelaide Prince, Olive Tell, Irene
Fenwick. Clara Joel, Norman Trevor
and Lumsden Hare.
Symbolic Court Portrayed
"Tbe Drawing Of the Sword" was a
decentralization in more definite and
clearly ineligible form than most
modern pageantry has been able to
undertake Of the events leading up TO
the present war. The scene was a for
NAL court, with Truth, a goddess; JUS
/ tice. a powerful man in Roman arms,
and Liberty, another goddess, IN white,
sitting in council.
The part taken by each Of the ma
lions in the conflict was presented IN
a simple but none the ssrlnglng
blank verse from Serbia, who reused
/ the fire Of war only to see IT climb over
the ramparts of the world, through Bel
! giun and Armenia. TO the final awaken
! ING of America herself and her entry
into war TO save Liberty TO the world.
/ Miss Barrymore was probably the
nost striking figure Of the pageant, at
tired in black, a solitary figure of sor-
row. followed by the ruined people of
Belgium. The audience rose at her en-
/ trance, as it rose to the entrance OF
/ France At her words:
81 have forbidden the destroyer's way
/ And he hath trampled me,
/ 81 have defended for one fiery hour
THE fortress gateway Of my sister
France,
And for one hour held the black
/ oaUias hack "