FOREIGN DRAMA ON ENGLISH AND AMERICAN STAGE 67 



and John McCullough, and the role of the gentle Parthenia has served 

 to introduce some famous actresses to the American stage. Though the 

 play now seems stilted and old fashioned on reading, yet a fragrant 

 memory hovers about it to one who remembers the girlish grace of Julia 

 Marlowe, then in her first season on the stage, and the radiant loveliness 

 of Mary Anderson still in her teens. All persons who quote poetry at 

 all know the lines 



Two souls with but a single thought 



Two hearts that beat as one. 



One more play remains to be spoken of among the old-fashioned 

 German dramas. This is -the Deborah (1849) of Salomon Hermann 

 von Mosenthal (1821-77). Under its original title it was in the repertory 

 of Mme. Janauschek, but since the early eighties, when Margaret Mather 

 appeared in the play, it has been known as Leah the Forsaken. The 

 role of the unhappy Jewess is very effective, especially so in the famous 

 curse scene, as can be inferred from the fact that that gifted actress, 

 Miss Nance O'Neil, has recently been using this scene successfully as a 

 twenty minute vaudeville "turn." 



In the late sixties a grand spectacular play from the German was 

 produced in this country by the famous Kiralfy Brothers. This play 

 was adapted from an old fairy tale and dealt with the persecution, adven- 

 tures and final reunion of a pair of perfect lovers, the poor artist, Rudolph, 

 and the village beauty, Amina. Pursued by the evil machinations of the 

 villain aided by a magician, the young couple were nevertheless protected 

 by the queen of the fairies, and virtue triumphed over evil. The curtain 

 falls on a vision of the enchanted home of the fairies. The foregoing 

 description sounds innocent and harmless, yet in its day The Black 

 Crook was denounced as wicked, vile and harmful, in short a menace 

 to public morals. The free advertising thus received of course acted 

 then as it does now, when some play is sensationally denounced and 

 thereby exploited by a hypocritical yellow press and eager managers. 

 It stimulated curiosity and made of The Black Crook one of the 

 biggest sensations and money-earners in the history of the American 

 stage. Even today barn-storming companies, trading on the remains 

 of the unsavory reputation of The Black Crook forty years ago, do 



