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MAGGIE MITCHELL AS LORLE.-Last / night
was Maggie Mitchell's fifth at the Providence
Opera House, and Lorle was the fifth play which
this hard-working artist has given us this week.
The audience was large, but not demonstrative.
Lorle, while artistically a success, is not so popu-
lar. Such a play cannot become successful here.
Though the audience followed Lorle with interest
through the various phases of her life-saw her
as the simple, ingenious peasant girl, then the
trusting wife of the great artist, next as the
slighted, despised, rejected woman, and finally
heart-broken and dying-watched all this with
eager eyes and sympathetic hearts, yet there was
no enthusiasm, no popular admission of the
truth of the story. Questions of caste can never
strongly stir the hearts of people in a country
where the wealthiest and proudest men take to
wife farmers' daughters-girls whose home train-
ing and native, good common sense enable them
to preside over their husbands' homes without
ever causing them any blushes of embarrass-
ment. No, there are no Lorles here; but, alas
there are many Rhineharts. Maggie Mitchell
pictured out the ideal Lorle beautifully. She en-
ters into the play with her whole soul, and, in
fact, for the time being it is Lorle who is looking
out of Maggie Mitchell's eyes and using Maggie
Mitchell's personality to physically express her
happiness and her woe. The author wrote the
play to close with the death of Lorle at the end of
the fourth act; the fifth act and the representing
of Lorle's sufferings and death as all a dream,
was all an afterthought, the object being to send
the audience away in a good humor. As said
above, the star's acting was brilliant, the death
scene being terribly realistic. The other mem-
bers of the caste did well, particularly Messrs.
Harris and Mitchell, and Misses Allen and Clif-
ton.-Providence Press.
10903
Document source description
This file contains newspaper clippings and programs for various concerts, plays, and lectures.
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"ocrText": "MAGGIE MITCHELL AS LORLE.-Last / night\nwas Maggie Mitchell's fifth at the Providence\nOpera House, and Lorle was the fifth play which\nthis hard-working artist has given us this week.\nThe audience was large, but not demonstrative.\nLorle, while artistically a success, is not so popu-\nlar. Such a play cannot become successful here.\nThough the audience followed Lorle with interest\nthrough the various phases of her life-saw her\nas the simple, ingenious peasant girl, then the\ntrusting wife of the great artist, next as the\nslighted, despised, rejected woman, and finally\nheart-broken and dying-watched all this with\neager eyes and sympathetic hearts, yet there was\nno enthusiasm, no popular admission of the\ntruth of the story. Questions of caste can never\nstrongly stir the hearts of people in a country\nwhere the wealthiest and proudest men take to\nwife farmers' daughters-girls whose home train-\ning and native, good common sense enable them\nto preside over their husbands' homes without\never causing them any blushes of embarrass-\nment. No, there are no Lorles here; but, alas\nthere are many Rhineharts. Maggie Mitchell\npictured out the ideal Lorle beautifully. She en-\nters into the play with her whole soul, and, in\nfact, for the time being it is Lorle who is looking\nout of Maggie Mitchell's eyes and using Maggie\nMitchell's personality to physically express her\nhappiness and her woe. The author wrote the\nplay to close with the death of Lorle at the end of\nthe fourth act; the fifth act and the representing\nof Lorle's sufferings and death as all a dream,\nwas all an afterthought, the object being to send\nthe audience away in a good humor. As said\nabove, the star's acting was brilliant, the death\nscene being terribly realistic. The other mem-\nbers of the caste did well, particularly Messrs.\nHarris and Mitchell, and Misses Allen and Clif-\nton.-Providence Press.\n10903"
}