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Posted on Nov 16, in Leiter Looks Back. Several were in foreign languages.

After all, this was a season blessed not only with the arrival of the Moscow Art Theatre but of Italian star Eleanora Duse and French star Maurice de Feraudy, each offering a repertory bolstered by revivals. Choosing five is no easy task, of course.

This was only its second of the century. For many years, Marlowe and her husband, year-old E. Sothern, exemplars of late 19th-century theatre, had been barnstorming with a Shakespeare repertory, held aloft by their past fame despite the increasingly dated nature of their productions.

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Unfortunately, the reaction to this Cymbelinepart of a repertory that included many of the Shakespeare plays mentioned above, was mixed. Worst of all is an extreme deliberation in utterance, further retarded by fake pauses that destroy poetic rhythm and even rob her scenes of their prime quality of spontaneity and passion.

She gave a tragic vehemence to many of the scenes. It was almost like a new Julia Marlowe.

Of particular interest to Corbin was the visual approach. This allowed for speedy playing and a minimum of time wasted for shifts. It was unusual for its time in omitting a curtain, so the audience saw the set the moment it entered.

Today, of course, this is standard practice and the sight of a curtain may even suggest a somewhat conservative offering. Yet there was no trace of the fantastic and bizarre, such as marred the pseudo-archaeological production of Granville-Barker.]