Life — October 29, 1903 — page 12: what you’re looking at

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

MR. W. E. NORRIS As LS EAE: * For Adults and Children. WHATEVER we result of Mr. Justin Huntly M Carthy’s labor in “The Proud Prine there is no doubt that he has set his poetic fancy high and has given us a play which— fe permitted to witness—gives cause for thought. Some of his lines are the fruit of reading rather than of strikin also many beautiful thoughts del As to the certain think of th unlike most of those we inality, but the text contains ghtfully of in- lines expressed propri and there is bound to be some dis- troducing scenes cussion. In view of the poetic nature of the story and its handling, and because the whole theme is treated on the high plane it is, it cau be said that, from the artistic point of view, there is no offence. ‘Those who are constantly looking to their moral sense offended will we find ground for complaint, but we do not think the piece conveys any but a good lesson and a good influence. The same things in modern costume and modern parlance would be objectionable ; as parts of this seti-oriental poem there is nothing that is ¢ the mind not searching for what is bad. On the whole, the play a work of literary value and an achievement of great merit The position of actor-artist-ma a New York theatre is conspicuously disposal of Mr. Sothern if he cares to take it. The production of 7 Proud Prince” is even an advance in elaborateness and perfection of det: “Hamlet,” and his “If 1 Were King.” The storm scene in the present play quite equals, ifit does not surpass, Irving's Walpurgis night on the Brocken. The church scene, imposing and beautiful as it is, fails to give us the sense of solidit ‘and vastness of Irving's similar setting in Ado,” but throughout Mr. Sothern has shown, in the material part of the piece, an artistic cons ness which puts him in the front ra of the world’s producers. Of his acting, as the ill-fated Robert of Sicily, it is not possible to speak in such unstinted terms of praise. His principal fault is an approach towards the grotesque, both in looks and action. It is a fault of overearnestness, perhaps, and could be easily corrected by an occasional thought of the Blight division between the sublime and the ridicu- lous. He not to the excess that Mr. Mansfield does, but still so much that it largely loses its value. There can be no denying the intelligence of his readings and the arse to nt, and we b lon his Much also overuses the broken voice, ALAN, cal excellence with which he overcomes natural Of his support, it may be said that it is ellent. Mr. Findlay, as The Court Fool, has a difficult part and, unfortunately, overacts it. Cecilia Loftus is not of deep powers, but is quite sufficient in the lighter passages. It must be an unpleasant role for any we sume, but to the part of Lycabetta, the courtesan, Mary Hall brings artistic thoroughness and a most pleasing personality. Her perf is finished and delightful, and few actresses before the public could make it at once so correct a piece of acting and so little objectionable. “The Proud Prince” ing, both as a bla deficiencies. in the main e nto mance is mighty well worth 1d as a production. [DIPFERENT parents differ about the pro- priety of taking children to the theatre, It their youthful minds from itluences of stage perfor there are few more agreeable things in the life of a eritic than the frank and outspoken joy, laughter and wonder of an audience of children. The delight of the children who are taken to see “ Babes in Toyland” is unbounded, and rightly so, for the beauty and fun of this successor of * The Wizard of Oz" please not only the children, but those of larger growth as well. Me. Julian Mitchell, who has staged the piece, is a genius in his line and brings to his effects an originality which tickles the palate even of the theatre-goer jaded b; sof spectacular In this effort he gives us the last word in the use of modern dis- coveries in stage light effects. Mr. Macdonough has made the story of the master toy-maker a pleasing one, and the music of Mr. Victor Herbert, although not up to the standard of some of his previous successes, is far ahead of much that we get in musical comedy and light opera. “Babes in Toyland" Christinas pantomimes, but it is cleverer and da last out the theatrical year, MABEL RARKISON Jase, may We elge 16 ee the stimula: ances, but are calculated ces, is not as stupendous as the English ier, and should Metcalfe. LIFE'S CONFIDENTIAL GUIDE TO THE THEATRES. Academy of Music. —* The Best of Friends.” American.—" Checkers.” Clever racing drama. Relasco.—* Tue Daring of the Gods.” The elaborately staged Japanese tagedy ts approaching the end of Its run. Broadway.—Menry Irving tn ** Dante." Casino,—Francts Wilson Criterion.—Charles Hawtrey tn The Man from Bliukley’s.* very sketcby but amusing. Daly's. —" Three Little Maids." Musical comedy of the better sort Empire,—Jobn Drew tn *Captaln Dieppe.” Fairly interesting, Garden —Last weeks of Ulysses." Handsomely staged poetical and mythological drama, Garrick.—Maxine Eliott tu Cisde Fitch's * Her Own Way.” fal woman tn an amusing play. Herald Square —Last week of E. i. Sothern in “The Proud Prince. See above. Knickertocker.The Rogers Brothers. Not funny, and not the kind of an attraction for Broadway. Madison Square.—Last week of Grace George in “Pretty Peggy.” Worth seeing. Majestic.—"* Babes in Toyland.” See above. Murray ilt,—Eaward Harrigan iu * Under Cover." York types from real life. Princess,—Kyrle Bellew as" Rattles.” Wallack's.—"' Peggy from Paris." Musical comedy of the usual kind. Weber and Fielde’s—* Whoop-dee-doo.” Regular W, & F, show, but not up to the mark, Comedy, A beautl- Amusing New comicbooks.com As