DRAMA 231 



forters," translated from the German of Karl Roessler; " Jelfs," by H. A. Vachell; " The 

 Bear Leaders," by R. C. Carton; " Lady Patricia," by Rudolph Besier; " The Butterfly 

 on the Wheel," a melodramatic version of a trial for divorce, by Messrs. Hemmerde and 

 Neilson; " Little Miss Llewelyn," founded on the Belgian play " Le Mariage de Mdlle. 

 Beulesmans"; " A Scrape of the Pen," by Graham Moffat, author of the evergreen 

 " Bunty;" " Rebecca of Sunnybrook Farm," by Kate Douglas Wiggin; and " The Great 

 John Ganton," which gave the American actor Mr. George Fawcett an opportunity for 

 a singularly vivid piece of characterisation. " Everywoman " at Drury Lane requires a 

 line to itself, because of its peculiar character. Instead of bringing out its usual melo- 

 drama, Drury Lane produced in 1912 a kind of modern morality play, in which " Every- 

 woman," a name for the eternal womanly, is shown surrounded by youth, beauty, flat- 

 tery, wealth, and other personified abstractions, and scolded from time to time by " No- 

 body, " who acts the part of chorus to the piece. It was written by a young English 

 author, Walter G. Browne, but he died before its production could take place in America, 

 and the English version, transplanted from the United States, was made by Stephen 

 Phillips working on the original material of the author. One of the most curious of 

 recent productions was the triple bill (Nov. 1912) at the Duke of York's Theatre, con- 

 sisting of three items, " Overruled " by Bernard Shaw, " The Widow of Wasdale Head " 

 by Arthur Pinero, and " Rosalind " by J. M. Barrie. Mr. Barrie was the only one of 

 the three authors who kept up his reputation. Mr. Bernard Shaw's piece (called " a 

 demonstration ") dealt in cynical and garrulous fashion with the old question of phi- 

 landering with friends' wives, and Mr. Pinero's play, though called a fantasy, was singu- 

 larly devoid of imaginative and fantastic elements. Mr. Galsworthy has been repre- 

 sented by a new piece " The Eldest Son " at the Kingsway Theatre, which is mainly a 

 study of country house morality. 



Needless to say, there has been the usual number of new musical comedies, of which 

 it is only necessary to recall the names " Princess Caprice," " Grass Widows," " The 

 Girl in the Taxi," " The Sunshine Girl," " Gipsy Love," " The Dancing Mistress," 

 all more or less of the accustomed type. 



English Actresses and Actors. Before leaving the English stage, it may be interesting 

 to mention the names of those contemporary players whose success has been most con- 

 spicuous in 1911 and 1912. Of the younger actresses there can be no question that most 

 mark has been made by Miss. Phyllis Neilson Terry and Miss Marie Lohr, though they 

 are of very different types. Miss Neilson Terry is better in romance and tragedy, and 

 her chief honours were gained in the parts of Juliet, Desdemona, and Queen Elizabeth in 

 " Drake." Miss Marie Lohr is a born comedienne, with a light pleasant youthful touch 

 which stood her in good stead in such pieces as Pinero's " Mind the Paint Girl," the same 

 author's " Preserving Mr. Panmure " and Mr. H. H. Davies' " Doormats." Mrs. 

 Patrick Campbell still remains the most picturesque and accomplished actress on the 

 English stage. Her technique is never perfect, but she has magnificent moments, and 

 her intuitions are always right. Once more she proved her powers in Mr. Robert Hich- 

 ens' " Bella Donna," on the whole a very remarkable performance on the part of the 

 heroine- Miss Lillah McCarthy's successes have been gained as Jocasta in King Oedi- 

 pus, as Iphigeneia in Euripides' play, and more recently as Hermione in " The Winter's 

 Tale " and " Viola " in " Twelfth Night." Miss Alexandra Carlisle has taken a grea 

 step forward in her representation of " Everywoman " at Drury Lane, and Miss Irene 

 Vanbrugh revealed once more the extent of her charm as a comedy actress in Mr. 

 Barrie's play " Rosalind." 



It would be true, however, to say that the English stage is not so richly endowed with 

 actresses as it is with actors. Rarely in its history has the theatre possessed so many 

 capable male artists. We need only mention here the names of those who are steadily 

 winning fame by careful and intelligent work. Probably the actor with the largest 

 following is Mr. Gerald du Maurier, who has attained a wonderful degree of popularity 

 with his audiences, and often finds himself able to carry through an indifferent play to 

 success by virtue of his personality. Mr. Dennis Eadie is one of the cleverest actors in 



