The sun. [volume] (New York [N.Y.]) 1833-1916, 1903-03-22

lawney,- the theatre folk At In almost
any theatrical scheme OF life; yet they
are all individualized and well developed
humans. 1t is a piece full OF whimsi-
| calities
In a satirical manner OF viewing certain
types Pinero has been singularly sue
cessful. Take THE Hobby Horse tiSso)'
LADY Bountiful- Qs9) and THE Princess
and the Butterfly Gs90. These three
enjoyable productions OF truly genial
Imagination are still fresh in our memories.
Satirical comedy is their genre, as MT.
/ Fyfe says Those who have seen John
Hare and Herbert Waring will not soon
| forget THE Hobby Horse Lady Bounti-
full is not IA equally effective. 1t does
not show it's writer's accustomed surety
of touch technically. THE Princess and
the Butterfly" Is clever TO the end; the gentle
note OF fantasy. while not reading on
highly imaginative plane, is sufficiently
pleasing The idea Of making two middle
aged persons agree to indulge platonic
affection in, and then let them fall out, OF
the frying pan into the fire Of real passion
is worthy of Mr.. Pinero. He has handled
the theme compellingly 1t is long piece,
but it is worth while-especialy the last
two acts.
His latest critic does not consider Pinero
except in the cases Of THE Second Mrs.
Tanqueray" and -Irs"-as especially pro-
found in his Interpretation Of life. Unlike
Ibsen Pinero is more interested in the
artistic problem than in the problem OF
character Mr. Fyfe writes. He does not
pursue character for the sake of character.
Ibsen does, and with -merciless logic and
severity of form"-the phrase is Mr. Mat
thewss. But Pinero is still growing
in sincerity, mental acuity. and on the
side Of style and fnesse he is miles away
from his competitors.
THE Profiigate" Qss9) proved our au-
thor's reach. He could write seriously Of
serious things. though his courage was
not equal TO his artistic ideal. II it had
been he would not have altered the first
ending, at Mr.. Hare's suggestion, and
made it a happy one, though logically
a most unhappy one. There is good, stern
stun in this play. and despite the four years
and several plays that elapsed between it
and THE Second Mrs. Tanqueray' Qs93)
1t Is the latter remarkable works true
forerunner. Any modern Frenchmen might
envy Pnero his absolute command Of
his material in this tragic production. II
all blossoms out 80 naturally from the
dinner party at Aubrey Tdnquerdy's that
from Pduld's entrance to her taking OF
we seem to be assisting at a real tragedy.
II is a pity that we did not first see Mrs
Campbell as Paula instead Of Mrs Kendall.
The former created the part. She is
Paula. Mrs. Kendall, possibly anxious to
unload herself Of any responsibility in the
impersonation OF fallen woman" All!
what sweet verbal felcity-and 30 mas
c,lline!l played Paula with the tone OF
brazen cornet. She was noisy. middle
class, coarse. Paula is none OF these OBJ
jectionable things. In certain cities and
certain circles it is considered good form
to speak OF both THE Second Mrs. Tan
queray- and Iris as immoral How
ever. these are the people who listen to
.Traviata" complacently and refer to Ros-
speare of France
No less an authority than Mr.. W. l..
Courtney says in his introduction to book
by Augustin Filon: AT the time the prob
lem play was rife Mr.. Pinero produced
the one characteristic and conspicuous
drama which has been seen in modern
ycars on London boards. The Second
Mrs. Tanqueray was a wonderful achieve
msnt because it summed up in itself and
represented in enduring form character
istic tendencies OF our period. II was a
much more remarkable triumph than
La Dame aux Cameiias,' for while Dumas
wrote-with a certain boyish eXuberance-
his defence OF the courtesan. Mr.. Pineros
tremendous indictment of the courtesan was
composed in the maturity Of his powers.
Charles Hastings In The Theatre In
France and England does not hesitate
10 assert that lit is the most striking pro-
duction Of the English theatre in the second
half OF the nineteenth century
There are several pieces Of Pinero 10
which the student returns with an ever
increasing content. One Of them il The
Benefit Of the Doubt 1885. excellently
played here in the old Lyceum Theatre.
Il has never proved q popular magnet.
Its art, it's ironical outlook on life. its swift
ness and its technical obliqueness have
not endeared it TO the public. Yet 1t has
the real Pinero tang In II he exhibits
his economy Of mechanism. HE freedom
from conventional theatrical devices aud
his firm grasp Of character. lts first act
L. one Of il. authors hest. You are launched
into the middle Of the action IN few words.
and xithou, the intrusion 81 barren. creaking
rstrosp.-ri The first two acts are really
brilliant. solid. satisfying and brisk ~ith
vitality Sowhere does Pinero pare away
his dialogu. 80 effectively. Il H. crisp.
not epigrainnslio for which IN. gods
IL. praissd' aud always human, always
l. -. A.