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Toscas
HART
for it has a cheerful first act, apart from the episode of the escape and concealment of the political fugitive, Cesare Angelotti, and there is no sense of brooding fate. But for the rest the tragedy moves swiftly and relentlessly, and it is a thoroly consistent and well-made play, while as a type and study of character Scarpia is fascinating ' in his luxurious, vulpine sensuality and reptilian cruelty.
The phrase “well made.” often contemptuously applied to Sardou’.s plays, is not fraught with so much reproach as some are disposed to think, especially those who are prone to regard the drama as a sort of go as you please entertainment. Plays that are well built are not necessarily of inferior merit. Shakespeare constructed many of his plays with great ingenuity, and thev moved on from episode to episode to culminating points or climaxes with the greatest precision and with obviously calculated effect, witness “Macbeth,” one of the most superbly constructed as well as swiftly moving dramas in any language.
The great defect of Sardou as a playwright, and one which became stronger with every successive piece during Ip' i
his fifty successful years of
Photograph (right) by E. W. Histed
Left, Olive Fremstadt, another celebrated Tosca. At the top of the page is Claudia Muzio in the dramatic third act, immediately before the death of Scarpia
Photograph © by Mishkin
To the left is Emma Eames, the second most beautiful and gracious Tosca. She made up in beauty of appearance and voice what she lacked dramatically
Photograph © by Mishkin, N. Y.
Above is Marie Jeritza, an ultra modern Tosca and Farrar’s closest rival, about whose artistic merits or demerits, a violent controversy was waged all iast winter
Photograph by Setser
(Thirty-five)