File:Julia Marlowe as 'Mary Tudor' in 'When Knighthood Was in Flower'.jpg

Identifier: playersplaysofla02strauoft (find matches)
Title: Players and plays of the last quarter century; an historical summary of causes and a critical review of conditions as existing in the American theatre at the close of the nineteenth century
Year: 1903 (1900s)
Authors: Strang, Lewis Clinton, 1869-1935
Subjects: Theater -- History Theater -- United States Acting and actors
Publisher: Boston, L.C. Page
Contributing Library: Robarts - University of Toronto
Digitizing Sponsor: MSN

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ough to keep thatactress in New York through the entire seasonof 1900-01. There is no question, however,that the main portion of this attractivenesscentred in Miss Marlowe, who acted the con-trary Mary Tudor, a personage more or lesshistoric. Not that the antique Mary countedfor much — at least, not after the cool indif-ference of a formal introduction. It was JuliaMarlowe that the people paid their goodmoney to see, Julia Marlowe shrewish andJulia Marlowe tender and loving; Julia Mar-lowe vixenish and raging, and Julia Marloweso soft and wooingly feminine that the heartmelted in very sympathy; Julia Marloweinconsistently womanish in doublet and hoseand Julia Marlowe bold and fearless in herproper petticoats, defying monarch on histhrone and peasant in his hovel, all for thesake of the man whom she loved. Who soadamant to the sweet and soothing influenceof winsome personality that he could resist orwould resist the potency of the appeal ? Still, there was something to be said on the
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JULIA MARLOWE As Mary Tudor in When Knighthood Was in Flower The Dramatised Novel 251 side of Mr. Kesters play. It was actuallya dramatisation in the particular that it fol-lowed with reasonable accuracy the trend ofMr. Majors plot and gave the auditor in thetheatre an excellent idea of the story that Mr.Major had to tell. It also reproduced with fairlikeness Mr. Majors conceptions of his char-acters, with the added garnish, of course, thatseems to be unavoidable in transferal frombook to playhouse. In this particular, the hero,Charles Brandon, was the worst sufferer, for hecame forth from Mr. Kesters treatment robbedof all distinction, simply the ordinary, invin-cible hero of romantic melodrama. WithHenry VIII., the dramatist was much moresuccessful, preserving in the Falstaiifian kinga thoroughly interesting and entertainingindividual. Otherwise, however, with the ex-ception of the Princess Mary, the personagesin the drama inclined toward the colourless —or say rather, they were m

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