The following review of the Dramatic Club's initial performance of Miss Wyse's "Pedro the King" was written by Arthur Pope '01, Professor of Fine Arts.

It is a matter for self congratulation on the part of many of us who are interested in the drama that, although we have lost Professor Baker and the Workshop, there seem to be no available means for turning over the Harvard Dramatic Club and its increasingly rich traditions to some more discerning institution. Like the Workshop the Dramatic Club has in the last few years built up an enviable reputation for serious artistic performance, and now, and apparently for some time to come, it will have to be the main resource of members of the University who are interested in this most vital of all the arts of the present day. Those who have observed the enthusiasm and devotion of past and present members of the club have little fear that it will not live up to this new responsibility.

Foreign Air Preserved

This year the Club has departed from its traditional policy of presenting European plays hitherto not acted in this country, and has chosen a play by an American, Miss A. Anthony Wyse; but as this deals with Spanish character of the fourteenth century, much of the foreign air which one has associated with the performances of the Dramatic Club since the production of the Governor's Wife some years back is still preserved. The play is almost purely one of the single character of Pedro, and although there is a large cast and much stirring action, the other personages are largely incidental. In the introduction Pedro is shown as a youth with all life yet before him, endowed with great capacities which might be employed for good as well as evil. The rest of the play shows how mainly through force of circumstances the good is gradually crushed out until according to the old prophesy "the Black Hawk dies twice, once for God and again for the world."

Pedro is a Spanish version of many of the great tyrants of Italy, sensitive to beauty, patrons of the arts, commanding in personality, but calculating, cruel and dissolute. In spite of all Pedro maintains his nobility, his sensitiveness, and as champion of the common people and constant lover of Maria, he remains a sympathetic figure.

Sanchez Is Brilliant In Lead

A vivid interpretation of this character of Pedro is given by Edouardo Sanchez, whose performance is particularly noteworthy in its expression of the high breeding, the grace and charm of the king. The impersonation is always commanding, and in the climax reaches real depth of emotion. It is certainly one of the outstanding pieces of acting that the Dramatic Club has given us. On the whole the support is also good, and the performance maintains its interest throughout. It is good to see some real excitement in some of the battle scenes, which offer great difficulties on the small stage of Brattle Hall.

Aside from that of Mr. Sanchez the best characterization is that of the Queen by Doris Halman. Rita Nolan does well with the difficult role of Maria, though lacking somewhat in distinction. Able support is given by G. S. Curtis as the Dwarf, and by H. S. Smith as Enrique as well as by many others of the numerous company. The principal fault of the actors is in enunciation, and it is to be feared that many of the lines were lost by those at all far removed from the stage. As is to be expected in so large a cast, there are occasional actors who in spite of all disguise remain Harvard undergraduates in voice and action, but for the most part there is satisfying illusion.

Settings Admirably Done

Much of the illusion and of the beauty of the performance depends on the settings which have been admirably designed by G. H. Humphreys. They are simple without being bald, and they assist in giving the feeling of the time without being at all obtrusive. To accomplish this is not so easy as it sounds. The costuming is also appropriate and effective, and there is frequently great beauty of general stage effect. This is according to Dramatic Club tradition, but we have perhaps come to take it too much for granted.

One can not help wishing that the Dramatic Club might be able to follow the practice of the professional stage which takes its plays to Atlantic City or Hartford before bringing them to the Metropolitan stage, for thereby much smoothness is obtained which cannot be secured except in actual performance. Moreover few persons probably realize the difficulties which have to be overcome by the producers of the Dramatic Club in using a stage on which scenery and lighting cannot be tried until the last moment and then at the expense of several nights sleep. But much incidental roughness of presentation will be forgiven where so much of real distinction is achieved. The whole play is put on with great spirit