Life — November 18, 1909 — page 16: what you’re looking at

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

“L. PE* was a wise one. We have often had more spectacular accom- plishments in the way of mobs of people and masses of color and gorgeousness, but there has never been in New York a stage picture more satisfying to the eye than that on which the curtain ot The New Theatre rose for the first time. It was Egypt and the palace of Cleopatra, Massive columns that scemed buili 10 last for all time framed views of the Nile and the low-lying country beyond. In the foreground were suggestions of the luxury that marked the time and place. In the atmosphere of the scene one could sense the lurid heat that gives this play its passion and realize the period of blood- The Theatrical Event of the Season Just and superstition that the coming of Christianity turned toward our modern civilization. The beautiful scene before REAT expectations greeted the opening of The New the house of Cxsar in Rome was another fine accomplishment Theatre. These expectations might well “make in the way of a stage picture, and the Jess important scenes the judicious grieve,”” because the real accom were things well deserving to be recalled in the memory of plishment of The New Theatre is not to be com- the eye, The costumes were in harmony with the scenes passed ina single performance, nor in a day, nor in a year, nor in many years, perhaps. The un- PS thinking public flocked to the opening perform- ance in the expectation that they were to be stunned by theatre and performance alike. The least impressionable of those who went with this a in mind were not disappointed in one part of their expectation —they found a theatre worthy of America in its material com pleteness and fit in everything but age and tradition to vie with any playhouse in the world. It does not lie in Lire’s province to deal with description. That must be left to other journals, but Lirr’s readers may rest assured that our country Unfortunately not so much may be said for the acting as for the setting of the pl: Mlowances must of course be made for a new organization and for the fact that The New Theatre could not start in a commonplace way. The idea of a competent permanent company, evenly balanced, which will eventually prevail, had to give way in the beginning to the American craze for names. Hence Mr. Sothern and Miss Marlowe, nominally members of the company, were practically the stars, and gave glaring evidence of the evils of the star system. A good part of the complaints about not being able 10 h from the fact that important lines were slurred at last has fit housing for the best that America can produce in the way of dramatic art. The house in its trial perforny es showed certain defects in the way of hearing and light ing that its enemies made the most of, but which experience will doubtless find a way to remedy. In impressiveness, in beauty, comfort, convenience and safety The New Theatre is by the minor characters so that more stress might be bestowed upon the persons and speeches of the principals. Both Mr thas added a new institution and a new impetus to art in Soshern a credit to those who have designed it and to the civic pride I Miss Marlowe were guilty of very bad elocution, the metropolis of America which could be vastly improved if they did not convey the GBR idea of having reached the point of professional position where they are beyond being taught. As to individual per In default of an American classic it was suitable th: pi American temple of dramatic art should be oj work of Shakespeare, the genius of our mother tonguc nances, Mr. Sothern never for a moment suxgests the man who was ruler, wily orator and impassioned lover. He is more constantly the infatuated dotard with occasional bursts “Antony and Cleopatra" is not among his greatest acting of futile fury. Miss Marlowe was never the serpent of the plays, but it is not hackneyed, and gives room for the testing S51 2 plays, but it is not hackneyed, and gives room for the testing Nie, and only in one or two momenis showed the majesty of of scenic effect. The heautiful stage pictures provided at The f sce f a queen, In the supporting parts no one played with especial New Theatre showed that in the latter particular the choice ry distinction. It might be possible to pick here and there a bit that was creditable to the individual performer, but in this play few of the performers gave pronounced evidence of fit ness to be included in America’s representative company of Stage artists. In some instances one wondered why this par- ticular person had been chosen at all. It is too soon yet to begin to mention names, but it is evident that the process of climination will have to be strenuously worked before The New Theatre shall have secured the acting material it requires. fi AA AA In its entirety the performance of “Antony and Cleo- ** shows our need of just such an institution as The New Theatre is likely to become in time. First of all it em- phasizes the defects of vocal delivery on our st The house may be bad acoustically, but this is negatived by the fact that some of the company could always be heard perfectly and others well in some speeches and others at times not at all. It showed that we are wofully deficient in actors who can read blank verse musically and intelligently. It shows that we The Census Man D SAY MISS OR MRS,? need schooling in ensemble work, that we are deficient in the comicbooks.com