The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1903-03-15
Why | Act in Problem Plays
By EUGENE BLAIR.


Camille" and "Zaza." the plays I am
presenting this season. It is diff
cult question to answer inteflieentIy to
people outside the dramatic profession.
From broad and general standpoint.
play such characters because they
are the only roles which. with very
few exceptions, AFFORD a satisfactory
field for the display or emotional forcs
or pathos. subtle blending OF hIstrIon-
ic light and shadows. the opportunity
TO display in one evening, nay IN a
few minutes. the gamut OF every human
emotion. II blame there be. let 1t be
leveled at the playwright. on whom We
depend for the material OF our art, and
yet they are as helpless as the ambitious
actress. in that he problem play" gives
them the greatest opportunity for the
display OF dramatic literary genius. Are
not the greatest dramatists OF this and
other days, men who have written
problem piays2"
Are not the most famous actresses OF
the present and past generations women
whose artistic fame was gained by their
representations OF the passion. storm
tossed souls OF the heroines OF the So
called problem pIay?" On what would
the fame of Bernhardt. Duse. Rachel.
or Racine rest had 1t not been for the
opportunity Afforded OF impersonatina
such characters?
A Notable Conversion.
As TO the ethical influence OF such
plays on players and audience. opinion
will always differ. Some years ago Mrs.
Kendall. the deaconess OF the English
stage and the lauded model OF domestic
felicities. placed herself on record as
Disappearing OF problem plays" stating
that she believed that an actress play
ing such roles must inevitably become
personally demOralized. Eighteen
months after this remarkable speech
Mrs. Kendall was playing The Second
Mrs. Tanqueray" and The Notorious
Mrs. Ebesmith." making the greatest
artistic success OF her career. because it
was in such characters her great talents
found full scope. And yet I do not sup
pose Mrs. Kendall would acknowledge
herself as having become demoraIized
by playing these roles. Such an idea is
absurd.
OF the moral influence OF such PLAYS
as Camille" and "Zaza" on an audi
ence. an actor can judge only by impress
tense. sympathetic interest with which
my audiences follow the fortunes OF poor
Camille and Zaza- and I firmly believe
that their influence is very far from i'm
moral or harmful. indeed. the reverse
would more often seem to be true. judg-
ing from the remarks overheard by ny
manager. Mr.. Gressitt. in front" OF the
house. by men passing in and out To
not one of --T--
what I mean. One man in leaving the
theater said TO a friend, Il say, that
play C'Zaza'D struck me hard. never
realized what an awful cad a man Is in
these affairs" play that can draw
forth such seIf-accusing criticism can
hardly be said TO have an immoral ten
dency.
The Substance Of Such Plays.
What is Camille" but the story Of
a woman. ennobIed by the one great love
Of her life2 People may caviI at the
moral Of the play. Camille. but il viii
always hold ones interest, because IL
is written in noble style. it descends
to use no tricks OF intrigue. no conversa-
tions heard behind curtains. no missing
papers" the coup du theatre is absent
from its action II is story OF a great
love, simpiyannd swecpingIy told.
Look at Zaza, a woman OF circrun-
stances. not fnately immoral or vic
ious. but a victim OF environment. sin
ming though ignorance, a merry. care
less. thOughtless creature. as We first
know her Later. what a change. Learn
ing that the man she loves. with all the
passionate intensity OF such an unre-
strained nature. is already married. and
considers her but plaything, a thing
apart from such women as his wife. she
is MADE 70 see what her life has been
and IS. With this knowledge. bought
by the wreck Of her life, she sins (2)
no more. She sends this lover avav.
declaring that she will no longer he
the wretched. vile thing" he had lust
described. and nothing changes this de-
termination.
Is there not a moral lesson to be
learned from such a character? Are
we not too prone TO condemn the deed
in all relations OF life. without analyzinz
the thought or motive which prompts
the deed, which is really the essence
of the matter TO be condemned or ap-
proved.
Clement Scott and the Clearer Lights.
I believe that too sweeping an in
I dictment Of the problem play is con-
ducive OF harm to the best interests OF
the stage as we would all have IL be-
Take, for instance. the criticisms OF
Clement Scott, best judge Of acting In
Englaud. worst critic OF the drama in
Europe. For years Scott held in Lon
I don pulpit. from which he preacher
with an authority greater than that OF
all other apostles of the stage. IN
happily he used his position to oppose
the development school in art. He
could not rise above 4 melOdrama az the
Adelphi or a pantomime az Drury Lane
Maeteriinck. Ibsen. H. V EsmOnd,
J Pinero. Suderman. Sardou.- were 10 him
/ a horrible modern menace. Re had not
the Imagination to distinguish between