The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1904-11-06
Whu / Act in Problem PIaus.
By EUGENE BLAIR.


am often asked why i play the chief
characters in what are termed prob
lem plays" which class includes "Ca-
mile" ''Zaza," and Iris" the latter
OF which ] am presenting this season.
ii is q difficult question TO answer in
UeIigently TO people outside the dra-
matte profession.
From a broad and general standpoint
/ play such characters because they are
the only roles which, with very few sX-
cepti0us- lnOrd q satisfactory neld Tor
the display OF emotional force or pathOs,
subtle blending OF hislTi0uiC light and
shadows. the opportunity 10 display ia
enc evening nay In a Few minutes. the
gamut of every human emotion. II
blame there be, let il DE Ieyeied 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 the problem play gives them the
greatest opportunity Tor the display OF
dramatic literary genius Are not the
greatest dramatists OF this and other
days. men who have written prob
lem pIayss'
Are NOT the most famous actresses OF
the present and past generations w0-
men whose artistic fame was gained by
their Representations OF the passion,
sJorm-t0ssed souls OF the her0iues OF
tne s0-called problem pIaysef On what
would the fame of "a BeruhardU. Duse
Rachel or Racine rest had it not been
for the opportunity afforded of imper-
sonating such characters
Mrs. KendalFs Conversion.
AS 90 the ethical influence OF such
plays on players and audience opinion
will differ. Some years ago Mrs Ken
dali the deacOuess of the English stage
and the Iauded model of domestic
1elicites- placed herself on record as dis
approving or problem plays" stating
that she believed that ga actress play
Iug such roles must inevitably become
demoralzed. Eighteen months after
this remarkable speech Mrs. Kendall
was playing THE Second Mrs. Tan
Queray and The Notorious Mrs Ebb-
smith, making The greatest artistic
success OF her career because il was IN
such characters her great talents found
run scope. And yet / do not suppose
Mrs. Kendall would acknowledge her
SELF as having become demOFaIized by
playing these roles. Such an idea is
absurd
OF the moral influence Of such plays
As Camille 'ZaZa' and Iris on an
audience an actor can judge only by i'm
pressious. j am keeuIy sensitive OF the
tense sympathetic interest with which
ms audiences follow the fortunes OF
poor Camille ami Zazas and 7 firmly be-
Leve -lat their influence is very far
from immoral or harmful indeed, the
reverse would more often seem 10 be
true judging from the remarks over
heard Hy my manager In front Of
the house Dy men passing De and out
To quote one or these remarks VIII IL
llztrare what / mean. one man in
leaving the JheaJ6T said to a friend
cd say that play CZazaD struck me
hard I never realized what am awful
cad man is in these affairs" A play
that can draw forth such seIf-accusius
criticism can hardly be said 90 have an
immoral tendency.
Lessons in Camille" and "Zaza."
What is Camille" but the story Of
a woman eun0bled by the one great love
OF her Hie2 People may cavu at the
moral of the play Camille" but IL
VIII always hold ones interest. because
q is written iu "a noble style. III desceuds
10 use E1 tricks OF intrigue. no con
EersaEiaEs heard behind curtains, no
missing papers the coup du theater
is absent from its action. 10 is a story
of "a great love. simply and sweepiugly
told
Look al ZaZa, "a woman 0E cIrcum-
stances NOT iluateIy immoral or vicious.
bat "a victim OF environment. SHINING