Photograph by White. Belasco’s Collection.
DAVID WARFIELD AS VAN DER DECKEN
APPENDIX
(By J. W.)
“VAN DER DECKEN.”
Belasco’s romantic drama of “Van Der Decken” was first produced at The Playhouse, Wilmington, Delaware, on December 12, 1915, with David Warfield in its central character, that of The Flying Dutchman, and it was acted during the balance of the season of 1915-’16 on a tour which embraced Washington, Baltimore, Pittsburgh, Cincinnati, and many other cities of the Middle-western States. It has not yet been presented in New York. Belasco esteems it as in some ways his best work. Mr. Winter did not see it. The following comments on “Van Der Decken” and its representation are quoted from an article by Charles M. Bregg, a respected journalist and dramatic critic of “The Pittsburgh Gazette”:
“It is a play so delicate, so poetic in its inner meaning and so weird in its mystery and philosophy that one wonders at the artistic courage of David Belasco and the daring of this adventurous actor who has struck out into hitherto unsailed seas of dramatic endeavor.... The story, which has appeared in the folklore of nearly all the nations of Europe but which has found its most extensive expression in Holland—that of the rebellious seaman who was destined to an eternal roaming of the seas as a punishment for defying God—is not new in the literature of the stage. In Opera and in Drama it has appeared under various guises; but to David Belasco and to David Warfield has been left the task of giving the old myth a new setting. Under the title of ‘Van Der Decken’ Mr. Warfield appears as this Wandering Jew of the seas in a drama of intense emotional appeal tinged with a deep sense of the supernatural. In this new play The Flying Dutchman gains port and finds a peaceful ending as a reward for his self-sacrifice in surrendering the woman for whom he first sinned. This woman, according to the Belasco play, is a reincarnated image of the wife of the Dutchman left in Amsterdam nearly two centuries before when he sailed away on that cruise around Cape Horn. Thus we find that the elements of mystery and of the supernatural are the main pivots of the dramatic action. To visualize them by stage investiture and amply to suggest them in action are tasks that few producers or actors would care to undertake.... There is [in the dramatic story] a romance, but it is so wrapped up in the mystery of other centuries, and perhaps is not always so clear in the philosophy of reincarnation, as to be appreciably understood. These are points about which there may be sound differences of opinion, but on a first hearing they seem, as a final result, to leave the play shorn of diverse interest and therefore somewhat monotonous in its appeal.