Life — October 30, 1902 — page 12: what you’re looking at

Machine-transcribed from the original scan — historical spelling and the odd misread are preserved.

‘LIFE: A Curious but Interesting Performance. UST now when the churches are trying to attract audi- ences by the adoption of theatri- cal methods in the dressing up and presentation of religion, it seems a bit strange that religion should be holding 80 prominent a place upon the stage, and this in defiance of theatrical tradition. The writer re- calls a suggestion made a few years ago to a prominent and successful manager with regard to dramatizing a novel in which religion was the leading motive. The manager met the sugges- tion with the contemptuous statement that any one who knew anything about the stage atall ought to know better than to think of producing a play in which religion was a factor. Very shortly after came the great financial successes of ‘Quo Vadis," ‘The Christian,” and “ Ben Hur.” The manager was doubtless right in view of his experience and that of his predecessors, but he failed to take into account that the whole public has changed in its attitude with respect of religion. It may be that we have not grown entirely irreligious, but things formerly held sacred and mysterious are examined more in detail, at closer range, and with, perhaps, less reverence. The proportion of theatres to churches is greater than it used to be, and just as surely as the number of church- goers has decreased, the number of theatre-goers has grown greater. Religion, which was once a monopoly, has now become common property, and it is not strange that the stage which grasps all things for its uses should claim its share of a topic which ranks high up among those of interest to humanity. We are shortly to see the Pope of Rome and Mary Magdalen exploited as theatrical material, and within the year the story of Christ has hada hearing in a New York theatre. Therefore, it was only natural that when a society of English scholars had made an artistically successful production of one of the old morality plays our own commercial managers should see the profit in it and bring it to America. ° ° ° “ VERYMAN” is produced at Mendelssohn Hall with an attempt to provide surroundings different from those ofthe ordinary theatre. This is 9 shallow pretense, of course, when one stops to think that its Christian teachings are set forth under Jewish managers simply as a money-making venture. “Everyman” is, primarily, not a play but a graphically presented sermon, so graphically presented, in fact, that its lessons are set forth far more effectively than they could be by the most eloquent of preachers in the greatest of churches and with the most impressive of ceremonies, The truths are very elementary ones and are shown in such simple fashion that they sink in deep. It is naturally rather startling to see an impersonation of the Christian Deity, but this is brief and only incidental. The whole thing is done with such sobriety and earnestness that it is really Jess shocking than the familiar and flippant way in which some clergymen refer to things sacred. Insomuch as it tells a story, although an allegorical one, and tells it directly and simply, working up to a climax,'* Everyman” is dramatic and constructed ly according to the canons of dramatic law. ‘ Everyman” is indeed very well worth seeing from every point of view. Lire would suggest that ifthe management shouldgivea special performance for New York's elderly millionaires, we might soon hear of some good deeds and acts of charity. Metcalfe, LIFE'S CONFIDENTIAL GUIDE TO THE THEATRES. Academy of Music.—"The Ninety and Nine.” Melodrams, Well pre- sented. “Du Barry.” Handsomely produced emotional drama, —"The Silver Siipper."*” Notice later. ‘The Chinese Honeymoon.” Clever musical comedy. Iris,” Society problem play by Pinero, Not for young persona. olive" Country Girl” Musical comedy, Bright, clean and well jone. Empire —Jobn Drew and competent company in “The Mammy and the Humming Bird."’ Worth seeing. Garden.—Mra, Patrick Campbell in “The Joy of Living.” Notice later. Garrick.—" His Excellency the Governor." Bright comedy. Herald Square.—Mactin Harvey in “The Only Way." Notice later. Madison Square.— The Two Schools." French farce, not of the Sun- day-school kin ‘Mendelssohn Hall.—"* Everyman.” See above. Mra. Ostorn's Play-house.—* Tommy Rot.'* Notice tater, Princess.—“"The Night of the Party." Amusing farce. St. Nicholas Rink.—Bostock's interesting animal show. ‘Saroy.—Ethei Barrymore in “Carrots” and “A Country Mouse." Well done and amusing Victoria.—"* Mra, Jack."" Bright comedy of American life, with Alico Flacher as the star. Wallack's.—Henrietta Crosman in “The Sword of the King.” Stirring performance of @ not especially play. Weber and Fields’s.—Vaudeville and burlesque, Good seats may be purchased from speculators, LIFE'S THEATRICAL PRIMER, AND LIKEWISE GILLETTE, ERS OF QUITE A REMARKABLE SET, THOUGH TALENT IN PLENTY THEY RACH MAY POSSESS, [J 48 KXOCKADOUT ARTISTS THEY'RE NOT A SUCCESS. comicbooks.com