Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1919-04-15
MARQUIS OF PRI0LA"
DARING AND ARTISTIC
Literary and Dramatic Merit in
Lavedan Play Featuring
Leo Ditrichstein

Both literary distinction and dramatic
merit characterize The Marquis of Priola,
which restores to the stage of the Broad
the play of IDEAS missing from there as
well as from our other stages, with rare ex-
ceptions, for more seasons than there are
farces and musical comedies in town at any
one time, which would be at least half
dozen. This is not to say that Henri Lave
dams impressive drama is not entertaining,
even on the basis of q theory that has some
how grown which sets entertainment as the
sole function of the theatre. And to call it
"play Of ideas is by no means to damn
it with the "high brow label. Under
standing of it and appreciation for it do not
demand as prerequisites intimacy with the
technical terms of psychology, pathology or
any other ology. or acquaintance with the
principles and methods Of dramaturgy laid
down from Aristotle to the most recent critic
with a theory to eNpound.
The Lavedan play meets the average i'm
plausibly plotted, fimsily developed and
impossibly characterized piece designed to
tickle the ears of the groundlings in its
own arena of mere entertainment and de-
cisively betters it in that quality. Fur
ther, it holds up the mirror 70 n code of
conduct toward women not uncommon on
the continent. but fortunately mostly known
in the New World through novels and plays.
and faithfully reflects immortality in
thought word and deed characteristic of de-
cadent Junkerism-the only category that
fits. although the scenes of the present play
happen to be in Paris and the profigate title
character happens to be an Italian.
NJ. Lavedan has written startling ex-
posure of a section of society that deems
itself privileged not only to rule but also to
sin. and he has backed it by n mercless
analysis Of the human nature that creates
that decadent society and the social cOndi-
tions that develop it. Produced in 1902 at
the Comedie Franchise, it is almost pro-
phetic of the doomed lcchery and pride of
a morally dccayed. vauntingly dominecring
autocracy destined to destruction through
lack of conscience, lack of ideals, lack of
veneration for eternal verites--the seeds of
malady and death terminating within itself.
And in one significant passage the Marquis,
debauche, connoisscur of the senses, Lotha-
rio OF innumerabe boasted conQuests. ac-
knowedges publication of tainted blood
through democracy. That such play, with
its exalted standard of morals. not set forth
in sermonizing but through the object les
repertory of the Comedic Franchise for
nearly two decades is fresh testimony
happily no longer needed now--that the
"Frenchy' farces and risque revues with
music, purveyed for the American stage in
Paris, are misrepresentation of the ideals
and code of a noble and moral nation. We
had grown so accustomed to this narrowed
view that Mr.. Ditrichsten deserves graft
tude Of translatng and producing NJ. Lave
dams play to correct prevalent error.
And more than that, he deserves thanks
for offering a play that appeals not merely
to the eye and ear, but ALSO to the intclli-
gence one that teaches but does not preach,
that Obtrudes no conscious moral but i'm
plies all morality. 1t achieves it's ends by
skilful theatrical construction, by surety of
characterization, by profound plumbing of
emotion Its dialogue is natural, spontane-
Gus, appropriately differentiated, always
forwarding of the action and growing out
of the situations without brilliant writing
for epigram's sake.
The complex title character was realized
to the life by Mr.. Ditrichsten. Whether
scornful levity for his prey, or callous cyni-
cism for their fate, or heartless plotting to
entrap souls in the meshes of lust, he met
every demand with finish of acting,
finesse of gesture, a nuance of tone that
were inevitably the traits fitting his roue
Brandon lyman, the unacknowledged natural
son, whom he is training to follow his own
primrose path of dalliance with vice and who
elects instead to climb the thorny sleeps of
virtue and honor, does not quite visualize
or realize the youth called for in the first
act, but in the other acts is impressvely
and legitimately of the drama. Ann Mac
Donald Lily Cahiil and Catherine Proctor,
who play the women marked for the wiles
~. L
career unrolled in the unity of time of the
action, contribute sterling and belieyable
interpretations of three very different types
of women, and Orlando DAILY and Walter
Howe contribute admirable portrayals Of
the other principals.