"EVERYWOMAN."

Dominion, Volume 5, Issue 1446, 22 May 1912, Page 8

"EVERYWOMAN."

A MODERN MORALITY I'LAY. "Everywoman," a moral : ty play in live canticles, by Waller Browne; music by !l. W. Cliadwick. Ca.-lu:— Nobody William De:-;moiul Youth. Klsic Chirenti Uoaut.v Dorothy Cummini; AloilcMy liniii J!ennclt Conscience ileim cicld Flattery John lialston TrulJi Kitiiim Tempi.) Kins Lovo the First A. J. iVtrick JUiUl' George J.iillcr St nil" Robert WhyU\ .Jiinr. J'mr J. A. Williams Passion John JlaUtcu Time William Locliliart Wealth Jtcrhcrt Lciprh U'iticbs A. J. Patrick Age William Ijocltlui'i Vice l'.etw Taii;-well Charily Kohert llecrton Everywoman Hilda, Spoug

Though it may not generally pi easeami may perchance, by virtue of its aggressive truth, even be an uncomfortable spectacle to more than tho few—"Everywoman," the strikingly original modern morality play of Walter Browne's, is distinctly one to be seen. In Elizabethan days 'tho morality play was not such a dramatic rura avii as it is today. lt was the lineal, descendant oi those dramatic ventures that were so frequently used by thy church to check the viciousncss of the times and point the way to the better life. They were sober, drab, and somewhat tedious homilies,, which "Everywoman" is not. There is an of intense, almost objectionable, modernity about the play, giving it a garisn touch, that seems to ho at odds with die iessoii it teaches. lt is a telling sermon, preached in tho swirling eddies of humanity that people the great white way of New York, and its tone is American rather' than universal. Still, AValter Browno has evolved something daringly original, and the truth is in him and his works. ."Everywoman," as is pretty generally known, is list a play in any ordinary acceptation of the word. It is rather an allegory in which the desires and ambitions of tlio typical (New York) woman aro given sway, and what follows is quite logical. Everywoman wakes up one morning with a ripple of laughter, and feeling youth and healthy vitality swarming in her blood, sets out in quest of love. Nobody, a, satirical chorus, warns her of the foolishness of her mission ; Truth invites her to travel another route, but Flattery, a bravo figure in her mirror, whispers horeyed phrases in medieval English, and bids h.ev -venture from her fireside, though King Love, a handsome youth, and Truth's son, would have her stay. To tho theatre she s;>eeds, and there, with the aid of Puff (a press agent), and her managers, Bluft' and Stuff, she soon becomes a brilliant .-lav, and like many a ono soon has AYealth and AYitless dangling after her skirts. There, too, aro Youth, Beauty, and Modesty, her handmaidens, hut Bluff and Stuff soon single out tho latter as unsuitable for the stage. Poor, demuro little Modesty! She anticipates the Truth in all things, and as Passion tells '■ is fiery tale, her pained voice is heard bidding Everywoman farewell. Startled by the voice, _ Everywoman tears the mask from Passion, and finding who he is vovilns him as a lecherous masquerade:'. From the dingy precincts of tho drab stage, the- scene changes to a glittering banquet scene, with Everywoman as the hostess. They are all there —Jilulf, Stuff, Wealth, Witless, A'anity, Old Age, and Youth, and, apart from the giddy throng, Beauty lying sick unto death, with Consciencc in attendance. They eat, drink, and are merry in a rather cheap and garish American fashion, and all offer adulation to the presiding queen of tho feast. Constvoncc, singing in her still small voice through tho'clatter, calls Everywoman's attention to her ncglecte.'! friends, and she turns to find Beauty dead. Still lovo'comes not. AVeallh seeks 'to show that ho is Love, but is speedily unmasked by tho _ beauty-bereft woman. Timo passe-s. It is a thronging stroot, where Church and Stage rub shoulders. A'ico stalks rampant. Everywoman, a forlorn figure, with sad lilei ess eyes and shuffling feet, is tl.erc, attended by failing Youth, who would persuade her to desist from her quest. Nobody oilers ! Consolation, but as it comes from him it is scorned. Wealth is approached as a forlorn hope, but lie laughs her to scorn, and goes olf with a younger drab. Incenso i fills tho air. Acolytes and priests advance in attendance on it bier, on which reposes tho body of Beauty. As they pass into the ciitirdh Youth makes a further appeal, but Time, tho white-bearded call-boy, is summoned by Everywoman—and Youth g<cs tho way of all flesh. Truth, appears, to Everywoman's delight, and'even as slio elects to follow in the light, tho form ot tho witch becomes transformed into quite an agreeable person, and together Lie? wander oil on tho right road at last—the road that leads to home. Ihcre belci'O tho glowing hearth lies sleeping King Love, whoso awaking is paradise. The play is well written, thougn the old-fashjoncd English halts hero and there. The scene on the stage is brightened by comedy of a character that is capitally satirical of the life "behind." One of the moat impressive scenes was the funeral ot Beauty, and. Everywoman s subsequent interview with Truth. Tho p»oy iS fin* bellished with impressive incidental music, magnificently orchestrated, which gives tone and'point to the scenes and characters, and which lends distinction, ana gives completeness to tho performance. It uas admirably played 'by a good orchestra under the baton of Mr. Fred. Quintrell. As for the players, Miss Hilda bpon&, whilst not perhaps an ideal Everywoman, gave a consistent and intelligent reading of tho part, which is as rich in opportunities us anv actress could desire. There was little individual magnetic forco behind her appeal as the young girl 01 the. first act, but she was quite in the picture as tho actress, and gi'vo a tasio of her quality as an emotional actress, notably in the street, scene. l>ho was given a good reception, and that sno satisfied tho many was testified by tiio applause which followed each curtain. Jlr. AViltiahi Desmond has done nothing quite so well as ho enacts Nobody. 110 spoke tho telling lines with fino elocutionary efTcct, smd lightened them wrth; appreciative intelligence, ptufl and Blul, wero capitally portrayed by Messrs. George Miller and Robert AY byte, and wealth was pictured with brutal candour by Air. Herbert Leigh. Mr. John Ilalston did weil enough .as Passion, and sang his music in good taste, and Mr. A. J. iat-l-ick cat a handsome figure us king Love, which part ho doubled with A\itlcss. i.to singing of Mr. Ilobert Beeston as Cliaiitv (tho priest) was quito admirable. Truth was excellently played by Miss Emma Temple. It. would bo lnipossiblo to picture a prettier or more demuro Jlodestv than is presented by Miss Mi<t Bennett, whilst A r outh and JBeautv were canablv pictured by Miss Elsie Clarens, and Miss Dorothy Gumming, lhe makeup and acting of Mr. AVm. Lockhart, as Fnther Time, wero alike admirable. The plav is lavishly mounted and dressed. It should attract, large audienccs throughout tho week.