Evening star. [volume] (Washington, D.C.) 1854-1972, 1903-09-26
MUSIC

ing quality failed to do a great deal toward
dispelling the thea trio lethargy that has so
long prevailed Mr.. Sothern's play with a
long title. and Mr.. Blossoms epigrammatic
Checkers We're wide apart in purpose
and quality as two productions could be.
Yet neither of them created a stampede to
the box-office window
Checkers" although it has been but
coldly regarded by Washington. ought to
have a good chance in New York. The
prevalence of racing plays may be taken as
corroborative evidence to the assertion that
the country has gone racing mad. 1t ought
to find an extensive clientele among the
New York people, who make the sporting
editions of evening papers so profitable. 1t
is full of bright lines. and the characters
are brisk. breezy people who are interest
ing. even if they are inclined to overwork
sentiment and the various emotions for the
sake of the audiences applause.
x x
The production OF. an original play by Mr.
E. II. Sothern was occasion of much ar
tistic interest, although it was not regarded
as possessing popular promise. The Light
That Lies in WomanS Eyes is a forbid
ding title. But 1t was produced with a
delicate craftsmanship and with a superb
appreciation of scenic effect which may
combine to win 1t a permanent place, de-
spite the glaring faults in which it abounds
Its central character, too that of a lovable
madcap girl, who compels all things to her
own sweet WILL is one that fascinateS. AS
played by Miss Harmed it is embodied with a
human grace that gives it renewed emphasis
and makes 1t almost superior to the maze
Of 1mprobabilities through which the plot
winds its frresolute way. AS the play stands
today 1t is triumph for Mr.. Sothern as
producer: but for Mr. Sothern as an author
1t has but little meaning. 1t unquestiOnably
asserts itself as the work of a well-read.
cultured and sincere gentleman. But his
work as an actor had already left no room
for doubt on these points.
Leaving out OF, Consideration the many
attractions WHICH the performance displays,
and proceeding fromsthe standpoint of the
adverse critic. formidable Indictment may
be drawn up. The piece lacks symmetry
and proportion. 1t exemplifles the mental
attitude of the actor toward the drama. The
business Of thel player is to take a single
scene. concentrate his energies upon 1t and
develop 1t In such manner as to make hts
part stand out in interest. single scene,
a single sentence. even single syllable,
may be the supreme episode in an actors
part. To find this episode and bring 1t out
is his duty and his desire. There is through
out Mr.. Sothern's play an obvious struggle
for this mighty instant, and while there are
interesting Incidents each has an entity
Of its own and dansles In, q state of semi
detachment, instead of being woven firmly
into the pattern of the story. The expe-
dent OF forcing Shakespeare to appear.
willy nilly. as theacollaborator of Mr.. Soth-
ern Is one whose audacity might be for
given if the device were not SO persistently
employed. To listen to the continuous flow
Of borrowed blank verse Is almost as bad
as listening to the pedantic conversational
bore who insists on destroying the natural
ness Of his own talk by f1inging in quota
tons which keep the nearer guessing their
origin until he loses interest in the narra-
tive itself. To a great extent THE Light,
ETC." is not play at all 1t is a scrap
book.
The Idea that one mans voice could so
closely resemble that of another as to de-
ceive the loving ears of blind girl is an
absurdity which even dramatic license can
not sanction. The.sense of hearing in the
blind Is proyerbially acute, and even If this
were not SO, the failure to recognize a
sweetheart under any disguise is repug-
nant to all the traditions of sentiment. Yet
this is the very basis of Mr.. Sothern's plot
Miss Harred'S TRADE and demonstra lions
of physical violence against the people who
do not rise to her roles opinion of the rev.
erence due Shakespeare is juvenile exhibit
ton which Is hardly to be- excused In a man
of Mr.. Sothern's maturity. There are many
refined people-super-refine perhaps-who
insist that Shakespeare was not so infal-
libby great as he Is popularity considered
This lack of faith in great author may be
source Of comfort to Mr.. Sothern. Such
people should be reasoned with. 1t will do
but little good to storm and throw things
at them.
The threat Of the lover that he will bring
the vixen who defies him to her knees and
make her beg him to marry her is invested
with altogether too much intensity to be
so lightly dismissed as 1t is in the subse-
quent development of the plot
Whether OF not 1t is proper to employ a
church scene as the background for Iegiti-
mate comedy may tbe largely a question of
individual sentiment or opinion But the
gyrations and screeches of an old man who
is being tickled by the actors who were an
noyed by his criticisms Is a piece of buff
foonery which would be out of place any,
where In this scene 1t is especially Often
sive.
X x *
In spite Of all these things 1t has those
two potent factors In playa love story
of delicate sentiment and feminine char
acter replete With dashing charm. Mr..
Charles Frohman,. whose good opinion of
THE Little Minister." ,candidly expressed
in the face of critical denunciation and
popular neglect, found such complete vindI-
cation. saw this play during the week and
unhesitatingly goes on record in its favor
He formally announces that he is delighted
with Miss Harheds triumph, and that the
with the entire cast, as it appears at the
Columbia this week.
49, WIT
FROM CALLii BOY TO STAGE MANA
GER.-Apropos Hf eBabes in Toyland," it is
interesting to node that Julian Mitchell, the
stage director who eersoys an international