|
Viola Allen in Hall Caine's New Play - The Eternal City
by [unknown], 1902
Viola Allen
in Hall Caine's New Play
THE ETERNAL CITY
MUSICAL SETTING BY
PIETRO MASCAGNI
LIEBLER & CO. MANAGERS
ISSUED BY
MEYER BROTHERS & COMPANY
PUBLISHERS OF
"THE THEATRE"
NEW YOKK.
VIOLA ALLEN'S STELLAR CAREER.
WITH THE PRODUCTION OF MR. HALL CAINE'S DRAMA OF "THE ETERNAL
CITY," WHICH HAD ITS INITIAL PRESENTATION AT THE NATIONAL
THEATRE, WASHINGTON, D. C., OCTOBER 6, 1902; MISS VIOLA ALLEN
INAUGURATED HER FIFTH SEASON AS A STAR. THIS CAREER IS IN SOME
RESPECTS THE MOST REMARKABLE, PERHAPS, KNOWN TO RECENT YEARS OF THE
AMERICAN STAGE, INASMUCH AS IT REPRESENTS AN UNBROKEN LINE OF
SUCCESSES, AND AN APPEAL TO PUBLIC FAVOR WHICH HAS MET WITH ONLY KIND
CONSIDERATION, AND BEEN RECEIVED WITH A GENEROUS ENTHUSIASM OVER THE
ENTIRE COUNTRY, FOR EACH OF THE PLAYS SHE HAS REPRESENTED, AFTER
RECORDING PHENOMENAL SUCCESS AND LONG RUNS IN NEW YORK CITY, HAVE BEEN
TAKEN EN TOUR, AND, HEADED BY MISS ALLEN, HAVE PLAYED ALL THE LARGE
CITIES, NORTH, SOUTH, EAST, AND AS FAR WEST AS THE PACIFIC COAST, AND
UNIFORMLY TO CAPACITY HOUSES. HENCE, IT IS SAFE AND BUT JUST TO SAY
THAT HER POPULARITY HAS NOT SHOWN ITSELF LIMITED BY LOCALITY, CLASS,
OR SECTION. + + + + + + + + + + +
THE RECEIPTS TO WHICH SHE PLAYED IN
MR. HALL CAINE'S "THE CHRISTIAN," DURING THE TWO YEARS IN
WHICH SHE APPEARED AS GLORY QUAYLE, BROKE ALL RECORDS IN ONE-HALF THE
HOUSES IN WHICH SHE PLAYED, WHILE THE AGGREGATE RECEIPTS FOR THE TWO
SEASONS HAD NEVER BEFORE BEEN APPROXIMATED BY ANY ARTIST PLAYING AT
THE SAME PRICES. THIS WAS FOLLOWED BY THE CRAWFORD-STODDARD DRAMA,
"IN THE PALACE OF THE KING," AND, TO THE INFINITE SURPRISE
OF THE WISEACRES, FOR WHOM TRADITION RARELY RECORDS AN IMMEDIATELY
SUCCEEDING SUCCESS, "IN THE PALACE OF THE KING" FOLLOWED THE
PATH MARKED OUT BY "THE CHRISTIAN," AND OVERFLOWING HOUSES
AGAIN GREETED MISS ALLEN WHEREVER SHE APPEARED. NOT ONLY WERE BOTH THE
PRODUCTIONS GREAT PECUNIARY SUCCESSES, BUT THEY BUILDED HIGH THE FAME
OF THE STAR, AND FROM OCEAN TO OCEAN, AND FROM THE LAKES TO THE GULF,
THE MODEST, EARNEST, AND TALENTED ARTISTE HAS BEEN ACCEPTED AS ALMOST
WITHOUT A RIVAL IN PUBLIC FAVOR. AND NOW "THE ETERNAL CITY"
GIVES HIGH PROMISE OF SURPASSING EITHER OF ITS PREDECESSORS IN
POPULARITY, AS IT CERTAINLY HAS IN RECEIPTS SO FAR AS THE SEASON IS
ADVANCED AT THE TIME THIS INTRODUCTORY IS WRITTEN. JUST HOW STRONG
THIS EVIDENCE OF APPROVAL IS, IS DIFFICULT TO ACCURATELY MEASURE, FOR
THROUGHOUT BOTH THE WASHINGTON AND THE PHILADELPHIA ENGAGEMENTS THERE
WAS NOT A VACANT SEAT AT ANY PERFORMANCE, SO THERE COULD BE NO
EVIDENCE GIVEN OF GROWTH, SAVE IN THE UNSUPPLIED DEMAND FOR SEATS, AND
THERE WAS NO LACK OF EVIDENCE THERE OF BOTH APPRECIATION AND
APPROVAL. THERE ARE GOOD REASONS FOR THE OFT-EXPRESSED BELIEF THAT
"THE ETERNAL CITY" IS DESTINED TO PROVE ITSELF THE STRONGEST
PLAY WRITTEN IN MANY YEARS, AND THAT, AS DONNA ROMA VOLONNA, VIOLA
ALLEN WILL SURPASS ALL PREVIOUS PERSONAL TRIUMPHS. + + + +
THE ETERNAL CITY
The Eternal City, in its dramatic form, is divided into five acts and
eight scenes. The play opens in Rome, on the day of a Papal
procession, the scene being the loggia in the Palace of Baron Bonelli,
the Prime Minister. The Baron's guests have assembled to witness the
spectacle and the promised sensation of David Rossi, a political
reformer, stopping the procession in order to present a petition
praying the Pope to heed the cries of the hungry and the
oppressed. Among these guests is Donna Roma, the Baron's ward, at
whose name the finger of scandal has been pointed. Roma is so deeply
interested in all she has heard of Rossi that she playfully threatens
to fall in love with him at sight. Rossi presently addresses the
multitude in the Piazza St. Peter, the Pope having refused to hear
him. The voice of the orator is heard from without and his words bring
consternation to Donna Roma, the Baron and his guests, Rossi asking
among other things: "Who cannot point to the Ministers who
allow their mistresses to meddle in public affairs and enrich
themselves by the ruin of all around." Carbiniers charge the
crowd and Rossi is arrested. The Baron's guests, in the meantime, take
their leave, some of the various women happy in the fact that Donna
Roma has been insulted and humiliated. Realizing that the trial of
Rossi will but spread the scandal further, Donna Roma secures his
release, promising the Baron that she will encompass Rossi's downfall
in some quiet and crushing way. In one month, Donna Roma tells the
Baron, he shall know the inmost secrets of Rossi's soul.
The second scene of the first act is located in Rossi's apartment. He
has just returned from prison and is surrounded by his followers,
among these being Bruno Rocco. Charles Minghelli, an anarchist, comes,
offering to strike down Baron Bonelli, the oppressor, but Rossi, whose
methods are peaceful and opposed to violence, spurns his schemes, yet
learns from him the astonishing fact that Donna Roma Volonna is none
other than Roma Roselli, the daughter of a martyred Italian reformer
and long time resident of London, where he was known as Dr. Roselli,
but was really the exiled Prince Volonna. This is a frightful
revelation to Rossi, for the reason that he was brought up as Roma's
adopted brother. Rossi, implicated with Dr. Roselli in a conspiracy,
was driven to America, where he dropped the name of Leone, assuming
that of his mother Rossi. He returned to learn that Roma was dead and
that was the last of her, as far as he was concerned, till this day,
when he had publicly defamed her before the multitude. Minghelli
departing, Roma is summoned. She tells Rossi that his insinuations
were "cruelly, shamefully wrong." Rossi at once recognized
Donna Roma as Roma Roselli, and it is slowly revealed to Donna Roma
that David Rossi is none other than David Leone. Rossi acknowledges
his error — and Donna Roma is more than ever attracted, now that
she has met David Rossi face to face.
SECOND ACT.
The second act occurs in one scene, being Donna Roma's Studio, a
gorgeously appointed chamber, half studio, half reception room. From
the windows of this room there may be had a broad view of the exterior
of the Coliseum. David Rossi had promised Donna Roma that he would sit
as a model for a statue on which she is employed, Donna Roma's purpose
to punish him, as she promised the Baron, having entirely passed out
of her mind. Rossi has made many visits to the studio, and upon his
arrival this day, having been sent for by Roma, is upbraided by Bruno
Rocco, Roma's marble
pointer, for having deserted his followers and fallen into the hands
of a woman, and that woman the very one he had denounced in the
Piazza. Rossi tells Bruno that Roma is a pure woman and that it was
his lies which had caused him to slander her. Roma has sent for Rossi
to warn him that his life would be endangered should he attend the
meeting at the Coliseum that evening. Having learned from the Baron
that the military has been called out and there is sure to be riot and
bloodshed, Roma begs him to stay away. Even at the peril of his own
life, David refuses to desert his followers. In response to Roma's
earnest pleading, he lingers and tells her of her father and her
childhood. Fate draws them together. Roma speaks again of the scandal,
to which David presently replies that, "if his Roma is alive, she
is a good woman." Roma and David's eyes meet in a flash of
understanding. He takes her hands. There is a moment of silent
hesitation; he draws her gently to his breast and mutual love is
confessed. Rossi departs, and the Baron appears and learns that Roma
has no information to impart regarding Rossi, and that she does not
propose to punish him if she could. To this the Baron replies that he
has learned from the spy, Minghelli, the identity of Rossi, and that
David Leone, wherever he is, has no right to live in Italy; in fact,
he has no right to live at all. The only information necessary for his
conviction is his identification by somebody who knew both David Rossi
and David Leone, and Roma is the only person who can supply that
information. But this she refuses to give. David Leone was her
father's friend; it was the Baron who ruined her father, who spread
the report in London that Roma Roselli was drowned in the Thames. Roma
acknowledges that she loves David and would marry him, but the Baron
tells her that she cannot marry him, for he will prevent it. The world
says she is the mistress of the Prime Minister. It matters not that
this is a calumny; he will tell David that it is the truth. The
meeting in the Coliseum is now under way. Rossi is addressing the
multitude and there is great excitement without. The Baron gives his
orders to the captain of police to shoot down the ringleader under the
slightest provocation. There are deep groans, mingled with angry
shouts of defiance, when the voice of Rossi is heard — followed by
a volley of muskets and the roar of an infuriated multitude. The Baron
departs, believing that his rival is captured or dead. Rossi enters
and relates what has happened at the Coliseum, telling Roma, among
other things, that Bruno is taken. He hands her his revolver, saying
he has not used it for the reason that he could not discover the
whereabouts of the Prime Minister, Baron Bonelli! The telephone rings
and the chief of police asks to speak to the Baron. Roma answers,
saying she will repeat any message he may have to the Baron. Through
this ruse Roma is able to secure the pass word: "Long Live the
King." She tells David he can now escape from Rome; that he must
fly to a foreign country, since there is death for him in Rome —
out of Rome life and final success for his cause. With tender words of
love and faithfulness till death she persuades him to go.
THIRD ACT.
The third act is divided into two scenes, the first being a hall in
the Castle of St. Angelo, and the second the Gardens of the
Vatican. The hall of the Castle of St. Angelo is a large groined
chamber, and it is here that the secret trial of the conspirators is
about to take place. The Baron appears and learns that Rossi has not
been captured, and that no incriminating evidence has been found
against him. A priest, however, appears and tells the Baron of a visit
to the Pope by Donna Roma, who had repeated, in agony of mind, words
of Rossi's which caused her to expect regicide. The Pope had
considered it his duty to the State to reveal the secret. The Baron
tells Roma, who presently appears, that Rossi has fled from justice,
and that he is to be tried at once in contumacy; that his sentence
will be posted even on her own door! Among others, Minghelli, the
spy, is called to the stand and swears that Bruno revealed to him
particulars of a certain great act, and that a great man had gone away
to prepare for it, this act being none other than the assassination of
the King. A forged letter is produced which purports to be from Rossi
to Bruno's wife, which is introduced for the purpose of inducing Bruno
to denounce Rossi. Bruno refuses, but wrought up to frenzy over
fictitious injuries, cries, "Long Live David Rossi," and,
seizing a dagger from the table, kills himself.
In the next scene His Holiness is discovered in the gardens of the
Vatican, accompanied by Father Pifferi, the priest who had revealed
Roma's secret information to the Baron. The Pope tells the priest of
his own career; of his marriage in early life, the death of his wife,
and the long search for his child.
Later, the Baron, in special audience, tells the Pope that Rossi has
threatened the life of the King and asks the Pope to call upon his
informant to denounce him. As a means of bringing this about, the
Baron promises the Pope that if Roma can be prevailed upon to do this,
Rossi's life shall be spared, and he shall be pardoned for his earlier
crime. Then Rossi can be banished and the public peace preserved. If
the Pope refuses to do this, the death of the King will be on his head!
The Baron withdraws, and Donna Roma is brought in. The Pope tells
her that he has revealed her secret to the authorities; that it was
his duty to prevent bloodshed. The plan of the Baron's for Roma to
denounce Rossi is then revealed, and she vehemently refuses. But on
the Pope's plea that this act will save Rossi from torture and death,
she consents. Officers are then called in and Roma tells Rossi's, or
rather David Leone's, life history. In doing this it is revealed to
the Pope that David is none other than his long lost son! The Pope
sits in his chair the picture of agony. Roma, referring to Baron
Bonelli, cries: "Is there no person to resist this man?"
The Pointiff rises weak and tottering, and lifting a trembling hand,
cries: "Yes, there is one!"
FOURTH ACT.
Act four shows Roma's studio, the same as act second, with the
difference that it is stripped of nearly all of its ornaments; all the
rich hangings are gone — sold to supply her wants. Roma, looking
pale and distraught, appears, and friends of Rossi bring her a
letter. She reads that Rossi proposes to return to Rome in order to
face the monstrous calumny that he is engaged in a conspiracy, and is
plotting to assassinate the King. She hears from without the cries of
the arrest of the deputy Rossi. Roma learning where the Baron is to
spend the evening, secures Rossi's revolver, her purpose being to
assassinate the Baron that very night. Before she is able to leave the
house, the Baron, in full court dress, appears, and immediately asks
Roma if she has heard the news; that Rossi is at last in his power. He
protests again his love for Roma — tells her he has been appointed
dictator and that his insane wife has at last passed away, and that
there is now no obstacle to their marriage. Roma spurns his advances,
when the Baron declares that, as dictator, he will not keep the pact
to save Rossi's life. Roma levels the revolver at the Baron when
Rossi's voice is heard from without. The Baron wrests the weapon from
her, hides in an adjoining room, threatening to kill Rossi if she
betrays his presence. Rossi enters. He is bare-headed and his face is
white and haggard. He has escaped from the police. Some one, he says,
has denounced him. Only one person in the world knew that he was David
Leone, and that one the woman he loved. He asks her to say that she
knows nothing of this denunciation. Roma finally admits the charge and
explains her reason; it was to save his life. David believes her, and
with a cry of understanding, she leaps into his arms. The Baron
enters, weapon in hand, and cries: "The woman lies." Rossi
asks what the Baron is doing here and he replies: "This apartment
belongs to this lady, and the lady belongs to me." Roma, to
preserve David's life, does not deny. David returns the Baron's lie
when Roma pleads with him to tell David his words are untrue; but he
only reaffirms their truth. Conflict between the men is
precipitated. The Baron is about to shoot, when Rossi leaps on him and
thrusts up his arm. The revolver is fired and the Baron falls. Rossi
comes to Roma with blazing eyes and both hands raised as if to lay
hold of her. She throws herself upon David, who pours out his words in
a torrent of passion, which drown her moans. He rushes from the room,
when Roma hears the feeble voice of the Baron calling her. She raises
him. He asks Roma to forgive him and dies in her arms, with a laugh on
his lips. The guards discover the dead body of the Baron and find the
revolver bearing the name of David Rossi. Donna Roma is questioned as
to the whereabouts of Rossi. She answers that she does not know. To
the question: "Has he been here to-night?" she replies:
"He has —— not!" Then she is asked: "Then who
killed His Excellency?" To this question she replies: "I
did."
FIFTH ACT.
The fifth and last act is divided into two scenes, the first being an
ante-chamber in the Vatican, and the second the Loggia of the Castle
of St. Angelo. In the first scene, which is really the ante-chamber of
the Pope's bedroom, the auditor discovers a commotion amongst the
Noble Guard. The Pope's secret Chamberlain demands that he see the
Pope at once, but this request the Guard refuses. The curtains are
parted and the Pope himself appears, when he is informed that there is
a mad man below, who, being pursued, demands sanctuary. Informed that
it is David Rossi, the Pontiff orders that he be brought into his
presence at once. The company of Swiss Guards bursts, with him, into
the room, Rossi struggling with them. The Pope orders that they let
him go and Rossi tells the Pope who he is. The Pontiff instructs the
Guard to refuse to give Rossi up to the Carbiniers should they
discover that he was in the Vatican. Rossi requesting that he speak to
the Pope alone, the Guard withdraws. Rossi tells the Pontiff that he
was about to throw himself into the Tiber, when the spirit of his dead
mother appeared before him, and with her saintly face full of the dumb
yearning of love and pity, pointed to his door. The Pope, filled with
emotion, says he once knew his mother, and stretching out his hands
toward the son, cries: "Who was lost and is found." In the
delirium of emotion Rossi clasps the outstretched hands, and at the
same moment reels and falls. David is borne away to the Pope's chamber
and Father Pifferi comes, telling of the murder of the Prime Minister
at the hand of Donna Roma Volonna. The Pope asks that the secret
passage to the Castle of St. Angelo be opened at once, so that he may
see the prisoner.
The opening of the second scene discovers Roma lying on a couch asleep
and very pale. The Governor enters and says to the nun attending her
that she had pleaded guilty and that she had been condemned on her own
confession. Roma wakes and asks if there is any news of David. There
is none. The Governor informing her that she is to die at daybreak,
she asks for the father confessor. The room is cleared, when an old
man, dressed in the black cassock of a simple priest, enters. Roma
recognizes the Pope. The Pontiff tells her that it was a mistake that
brought about this terrible event. Roma confesses to the Pontiff that
another had killed the Baron Bonelli. The Pope guesses the truth, and
tormented with grief, cries that David Rossi must come forth and
accuse himself! Roma explains that Rossi killed the Minister in
self-defense; that it was an accident. She says that she cares not to
live, since he who loved her loves her no longer. The Pope replies:
"If David Leone is worthy of his mother, of his name, he will
come back to you on his knees." The Pope leaves and Donna Roma
staggers and falls on the couch. Elena enters with great excitement
and proclaims that the King, failing to form a parliament to follow
that of the Baron Bonelli, had appealed to that body to nominate a
successor, and that very morning parliament had met and nominated
David Rossi! David comes from the secret passage that leads to the
Vatican, stands behind her and then, with a low tremulous voice, cries:
"Roma!" With a faint, frightened cry of mingled joy and
grief she falls into his arms and is folded to his breast.
IN ADDITION TO VIOLA ALLEN IN "THE ETERNAL CITY." LIEBLER
& CO.'S OFFERINGS FOR THE COMING YEAR WILL INCLUDE KYRLE BELLEW IN
"A GENTLEMAN OF FRANCE"; MADAME ELEANORA DUSE, IN THE PLAYS
OF D'ANNUNZIO, BESIDES THOSE OF HER FORMER REPERTOIRE; A DRAMATIZATION
OF MARY JOHNSTON'S "AUDREY"; JAMES O'NEILL IN A NEW PLAY,
"THE HONOUR OF THE HUMBLE," BY HARRIET FORD; HALL CAINE'S
"THE CHRISTIAN"; MADAME GABRIELLE REJANE IN HER REPERTOIRE;
SIG. ERMETE NOVELLI, THE GREAT ITALIAN TRAGEDIAN OF THE DAY, IN
CLASSIC REPERTORY; EDWARD MORGAN IN A NEW PLAY; VESTA TILLY, THE
ENGLISH COMEDIENNE, IN A NEW PLAY; AND THE AMERICAN ACTOR AND
HUMORIST, EZRA KENDALL, IN A PLAY BASED ON A POEM BY JAMES WHITCOMB
RILEY, DRAMATIZED BY HERBERT HALL WINSLOW. +
Comments, additions, corrections are welcome.
|
