Evening star. [volume] (Washington, D.C.) 1854-1972, 1900-12-01
n 9:
DRAMA

oiiS punt Ol view.
Il used to devote a norton of NV window
space to these outrages on pictorial art
Nnich theatrlcaI companies see fit to pro-
ait s AS business proposition it was
a idhure. gave up my best window for
me exploitation of other peoples wares to
the disadvantage of my own. and when I
went TO collect the consideration promised
me III neu or rent for the occupancy of
ny Property, was in numerous instances
lhe victim OF bunco game. 1 lost not only
my advertising space, and my car fare. but
several hours of valuable time, which might
better nave been employed in playing par
Ihesl OF some other quiet domestic game.
nave no doubt the suggestion that he
may not be giving value received for his
Iithograph space would strike the average
theatrical man as absurd. 1t never occurs
" hiin mat ne has an obligation to fulfill
ana tnat when he enticeS a man to see a
worthless show as a return for the use of
ms property, he is violating the principles
OF business decency. Yet ] would CLASH
~ seVeh-elghths of the shows offered in a
season as worthless For the other eighth
L am quite willing to pay. The a, b, c of
tne theatrical business, so far as 1 can
Judge II, Is to get something for nothing
"A traVelfng organization takes a great deal
OF money out of town, and leaves absolute
ly nothing in the way of a tangible equiv
alent behind it. I have known a great ado
made over the fact that some small store
keeper has sold a Autograph ticket. Why
should he not sell it? He obtained 1t for
an honest consideration, and it Is his prop
erty His personal presence in the theater
Is not factor in the matter and the
tlcket Is his to use himself present or sell
TO an unSuSpecting friend, tear I'D or feed
to the goat. l am always glad to hear of
any movement to retrench in this kind of
advertising; the fights which have occurred
among agents of theatrical companies for
the possession of a vacant store window
have added to my natural repugnance for
it. 80
II cannot sympathize in any expressions
or accommodation from men who as
managers have recognized the stage only
In Its commercial aspect and whose desire
to avoid cash outlay is wholly responsible
for the transactions of which they now see
MT to complain. / am aware that my views
would be regarded as heterodox in theatre
cal circles. but from the standpoint of a
business man, 1 cannot see why they are
not entirely SOUND and logical. No doubt If
! were in the profession, 1 should think
differently
Perhaps the most remarkable effect In
Brady's Way Down East Is the snow
storm In the third act. Here the snow
drives past the windows and in at the door
every time it. is opened in most realistic
manner. The mechanical continuance for
producing this effect consists of a number
Of electric fans and in the compositions OF
the snow itself. The white material is
blown with such force and fury that the
actors who have to enter. in by the door
cannot face 1t lest 1t fnjure their eyes. Thus
it Is that the actors all enter from the out
side etther with tteir heads benz or-their
faces protected in some; way. It can also
be noticed that when $the heroine opens
the door to go out into the storm that she
covers. her face and goes with her back
toward the whirling mass of snowflakes.
One effect which has never been produced
before Is an illusion in the first act. 1t
shows the country about the house of
Squire Bartlett. Apparently the specta-
tors can see the landscape for miles, not
only in the background. which Is common,
but also on each side. The country de-
picted is rolling and there is an atmosphere
which is altogether realistic and convinc-
ing. This effect was the result of much
study and experiment. Yet the contriv--
ance is simplicity itself. There Is one large
drop. which can only be used upon a large
stage, and this fact limits the number of
tbeaters at which Way Down East can
be produced. All borders and wings are
dispensed with and this let's the full width
Of the enormous drop be seen and no at
tempt is made to narrow the effect and
build up prospective in the usual stage way
This same effect is greatly added to by
building Squire Bartietts home boldly out
in front of the drop.
LAS YOU LIKE TIT pray YOU mar
no more of my verses by reading them i'll
favoredly," says Orlando to Jacques
Shakespeare might have made the same
request at the Lafayette Square Theater
last night.
That Miss Bates should desire to play
Rosalind is to her personal credit That
she should make public attempt with a
company whose forte is melodrama at pop
uiar prices proved her courage, but not her
discretion. Eugene Ormonde's performance
of "Orlando" was the redeeming feature of
the performance. He was graceful in bear
ing, intelligent in his reading and had the
convincing quality which in a Shakespeare
an production is possible only when the
player Is in close poetic sympathy with
his role The merit Of Mr.. Ormonde's i'm
PRESERVATION was itself almost a dramatic
surprise, because OF Its strong and sudden
contrast to the cold, fashion-platelike de-
lfneations he has given In some of his pre-
vious work. But 1t was Miss Bates as Ro-
salind that the confiding audience assem-
bled to behold. No commentary on a Ro-
salind would be in accord with accepted
notions without some allusion to the eff
fectiveness of the display made necessary
by the costume. It may be stated with
had been as well endowed in manner and
diction she is from hip to heel her per
Torrance Of Rosalind would be beyond
criticism. 1t is to be doubted whether the
impression which her performance con-
veyed to the eye and ear accurately re-
fleets her conception Of the part 1t would
indicate sad lack of respect for the dainty
heroine of the play, whose charms are so
delicate that 1t is scarcely safe to trust
them outside the protecting covers of a
library folio. They have been known to
fade ana Wtther Wnen even greater 49,
tresses than Miss Bates have sought to
gather them and wear them before the
glare Of the footlights as the adornment of
an hour.
Fortunately for Miss Bates, the very high
esteem in which she is held in Washington
does not depend upon her proficiency in the
literary drama
The representation Of the forest OF Arden
was a charming stage picture. But a NAV
Of this magnitude ought not to be attennnt-
ed as side Issue, for two nights and a
matinee, with other work of greater pecn
MARY promise pressing 1t on all sides. Mr.
Sullivan delivered the seven ages soljIoonv
beautifully. The audience remained until
the close Of the play. which ran quite late
and this fact conveyed a greater comnU.
ment to the popularity of the company than
did the occasional applause Alma Kruger
played Celia pretti1y. Sanders Winthron
added vivid touch of burlesoue tn the
scene as the wrestler. and Robert Rogers
was loggy "Touchstone" Louise McIns
tosh, as Audrey. and Hal vantyne' as her
lover. had some very spirited low comedy
scenes.
HEDDA GABLER.-The Lafayette souor.
Stock Company gave performance ~ III.
sens "Hcdda Gabler' yesterday affernonr
The chief characters were assumed ~
Blanche Bates. John T. Sullivan. Eurans
Ormnnde Alma Kruger and Other. IeSno