New-York tribune., 1918-01-15
BY J. Alexander Pierce

STUDY IN tho psycho-pathology Of crime
IN his latest play, "The Heritage" 1t
IS the waking nightmare of a man
ooscssed with q mania to slay,' Having
some of tho skctchiness and unexpected
turns characteristic Of nightmare and
thrills that are similarly suggestive.
rho authors familiar skill in dialogue
and tho creation Of character and at
mosphero are in evidence, but he has
relied on the novel and sensational
character Of his story in this instance
rather than on closely knit dramatic
construction.
Antonio, wealthy Italian, who has
como to Now York with his sister
Maria to escape the consequences Of
MS crimes in the past, inherited his
peculiar cbsession from aristocratic
but degenerate ancestors At intervals
OF eight months he is overwhelmed by
desire to slay. Even between whiles
lhe necessity is so strong upon him
that he is occupied wholly with deep
schemes to safe his lust for blood
He has time also for indulgence in the
lear that his sister may reveal the
same dire faint. but forgets her under
the stress of his passion.
An American detective. Inspectos X
has discovered Antonio's fine Italian
hand in number Of sensational mur-
ders in Europe, and has traced him to
his new home, but the inspector has
fallen in lovo with the sister and has
determined to watch over Antonio and
strive to cure his malady. In spite of
an affection for the detective which
Antonio has begun to be sensible of,
ne IS. nevertheless, inexorably impelled
by the old desire. He feels that he can
not live while that man lives" The
situation recalls the blood lust of
Salome, and her reiterated cry. II want
the head of John the Baptist!"
Two short acts are required to lay
the foundation of the play In tho
first the relations Of the leading char
actcrs are indicated, and although the
second deals with "a thwarted attempt
by Antonio to kill Inspector X with the
assistance of a Black Hand gang, fur
ther exposition is offered in scene
between the inspector and Antonio
whom he has captured in an East Side
barroom. The colloguy ends with An
tonio's acceptance of the detectives
terms. Antonio is to retain his free
dom and submit to the personal OBJ
servation of Inspector X.
From this point the drama becomes
more tense, the playwright succeeding
with considerable skill in engendering
an atmosphere Of suspense and appre-
henson. Although the inspector has
apparently won Antonio's friendship
there is an undercurrent Of suggestion
that his life is in constant peril. Maria
also reveals her love for him, and then
in scene with her brother betrays
that the family weakness has already
manifested itself in her in an incipient
form.
Antonio, who first INDUCED his mad
ness by cruelty to animals when a boy,
is overcome with horror at seeing his
sister hurt kitten that she has been
view somewhat at the end of the third
act, making Maria for the moment the
most important character, instead of
leaving the emphasis on Antonio.
Cyril Keightley, as Antonio, skilfully
handles the material that the play
wright has given him, but the question
is inevitable why he is not shown un-
der the sting of ungovernable passion,
writhing, almost foamng at the mouth,
in the struggle between restraint and
an irritation driving him inevitably
toward the abvss. "Dr. Jekyll and Mr..
Hyde" would have been feeble effort
had it not depicted the extremity of the
conflict between the two sides of the
character In "The Heritage" it would
seem that the true climax of the third
act should have been the portrayal of
such an agony, with the implication
that the mans degenerate instinct had
won.
Ingredients calculated to vivify the
audience are thrown in with lavish
hand toward the close of the play.
Antonio forces his sister to be his
accomplice in the murder of her lover.
She shields Antonio at the police in
quiries, but only to succumb to com
plete madness after long ordeal. At
this moment strains of music rise from
the street. Antonio listens, dazed, and
then rushes to the piano and tries to
drown the air, but he is unable to play.
The funeral procession of the mur-
dered inspector is coming toward the
house. and the dead march from saul"
crashes out, louder and louder, until
Antonio rushes to the balcony and
shrieks a confession.
Madeline Delmar made very charm
ing Maria and played her tense scenes
admirably. Lowell Sherman, the in
spector, had excellent moments, but
was little lacking in ruggedness. The
remainder of the long cast were Of
minor Importance.