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Show ' I iViPvS.' FI5ZS AS "liahy" 1XH3. riSSX NOTXD . FOR HE S SKILL AND TASTE IN DRESSING. Ufa. Flske has always been noted ) for her skill -and good taste, in dressing, hut she- has worn nothing . 0 more beautiful In material, design () and sentiment than the coatumea f) In "Mary of Magdala." a delicate tan shade, falling In graceful folds from the shoulders. That In the last scene is of the name style, but of the purest white. Nothing could be more In keeping with the peace and exaltation ex-altation that fills Mary's soul. Two notable '.Gowns - of! Oriental Colors in Which .Distinguished Actress Garbs Herself. No one who has seen "Mary of Mag-dala" Mag-dala" Id which Mrs. Flske Is to appear at the' Grand theater Wednesday and Thursday of next week, has failed to be Impressed with the beauty and plctur-esqueness plctur-esqueness of the costumes. The play Is rich In the atmosphere of the Orient. From Mrs. Flske down to the humblest slave of the patrician Flavins, all are garbed with distinction. Individuality and good taste. The fabrics used were found In the Orient, after diligent search had revealed the Impossibility of obtaining obtain-ing them in this country. s More interesting than all others are the costumes worn by Mrs. Flske. Of themselves, they tell. In a tone symphony, sym-phony, the great story of the play. What could better typify Mary than the gorgeous gor-geous red gown in which Mrs. Flske first appears? It Is a peculiar shade, wine color tlngid with purple might describe de-scribe it best. The material is silk, heavy in texture and brocaded with a floral pattern outlined in gold thread and studded with Jewels. The gown is in one piece, held at the waist In a girdle gir-dle of the same material, with gold clasps. The skirt has a train and the decollette bodice Is square cut. - with shoulder straps surmounted by gold plates, studded with rubles. Of similar design are the breastplates. Rubies also glitter In the gold crown. Over the gown is" worn a sort of loose-sleeved, transparent cape of flowered red silk crepe edged with wide gold lace and falling half-way down the skirt. Red sandals are worn with this costume. .More magnificent, however, is the costume cos-tume worn In the second act, where Mary visits the house of Flavlus to see from his garden tho new prophet. The effect is dazsllng and the splendor is truly Oriental. The robe is of heavy cloth-of-gold, of a quality and pattern exceedingly rare. The conventional design de-sign of the material Is covered with a profusion of rhlnestones. This gown Is cut after the princess style, with a train. The skirt opens in front, revealing the lining of yellow satin and the underskirt of red silk. The sleeves of the gown are very short, but from them fall loose, flowing undersleeves of yellow satin. Here, too, is a crown of large and small turquoises, while the ears are covered cov-ered after the Oriental fashion, with clusters of the same stones. From the apex of the crown hang two veils, one of cloth-of-gold and the other of yellow silk embroidered In gold. The veils cover at first the entire head and shoulders, shoul-ders, but after the entrance they are folded back from the face. The costume is truly a queenly one, and! well suits the Magdalen In the fullness of her power. In striking contrasts to these sumptuous sumptu-ous dresses are the simple gowns that Mary wears when the fullness of Christianity, Chris-tianity, her regeneration is- complete. In the third act, Mary, enthralled by the new life that has opened to her, enters, en-ters, wearing a plain dress of black crepe, with white sleeves and a dark clue cloak. The simplicity of the costume cos-tume is eloquent and aptly expressive of the spirit of the penitent. The same simplicity characterizes the gowns worn In the last two acts. That In the fourth act Is of the softest crepe, |