Evening star. [volume] (Washington, D.C.) 1854-1972, 1905-03-18


+ close comparasoIl at the Washington the
aters this week. Mrsk Otis SINNERS roman
ticsm and Mr.. Mansfields realism Claimed
The consideration of sincere admirers : Of
the drama. Mr.. Skinner has a play In
1.-THE Harvester which calls for Just such
a display of vitality as best BELTS him, and
interest is concentrated, on the character
he ASSUMES. : 1t is an. immensely pictur-
ssque eharacter, and a CONVINCING portrait ,rt
ure Its author falls back uncompromls-
ingly in the F'renchman's great argument
in defending work of art-''t Is truth
full" The social conventions are wholly set
aside for the sake. of drawing a. character,
which stands forth commanding, even defl-
ant, like the central figure on an artists
canvas. 1.-THE Harvester teaches mo
moral. Its greatest merit is the acting
opportunity afforded Mr.. Skinner, an OPP
portuniry which he improves with bis AGA
scustomed4 skill 49,. s,......e..-.....
Mr.. Mansfield's only new play is Ivan
the Terrible" It is one of the studies III
which this actor delights; a semi barbarous
Baron CheEEiaL The revival Of the Parl-
sian romance called to, mind the wonderful
charges that the style sin playwritinG
undergosz.sAne old-fashioned play is as
easily recognized as an old-fashioned hat.
and the Company supporting Mr. Masfield
IS far frem~ possessing the fnesse to gloss
and refurbish the representation. Baron
ChevrfaI stalks through the scenes In ar
and with his demise the
entire interest is buried. In the MIDST OF
SO much adverse criticism of modern plays.
it is surprising to see so many old-time
favorites proving dull and commonplace.
Il 10 ca
faithfully and persistentIy copied that with
the lapse of years it is like an exhausted
mine Mr.. Mansfield will in ythe near fu-
4turs- produce. a Moliere play, lie Nissan
thrope.''
x y, *ss<s.... q.
Chevalier. commands consideration as an
actor rather tbah ASA singer: fiis@veice Is
scant and theTremote tinkle. of the piano
provides but aN unsubstantial accompani-
ment But hfss imp9rsonatfons are vivid
and Intense. They Hing the wave of SYM
pathetic interest that sweeps through an
audience when=an artist succeeds in fully
conveying his ideal. They are brief pass
ing pictures those studies in-human ma
ture; but theyqare wrought out and pol
ished even to the faintest intonation and
the slightest gesturS
MR. SKINNNsR'S stMODEL FOR THE
HARVESTERE'It was something of
problem that eonfronted me when I de-
ciaed to preseAt The Harvester" said
Otis Skinner this week. 1.-The play as pro-
duced in France was in some details too
realistic. Realistic new? Perhaps. But in
France it was Zolaesque. The Harvester
was first presented as an unkempt and
unwashed ragamuffin, and when he return
ed he had tangled, beard covering his
chest. 1t was MOI a picture that an Amer
lean audience could approve. l did not feel
myself bound to a tradition, for in Paris
they seek originality at all hazards and APP
prove of some fantastic experiments. re-
member seeing one playa serious play-in
which the hero made his entrance on a
BICYCLE
"Where did you find your model for The
Harvester
'In the author Of the play himself. No
suggestion that he gave me in conversation
with him was more valuable than NJ. Jean
Richepin's own personality. A man of
splendid physique, a swarthy outdoor man
with a personality teeming with magne-
tism l copied him as nearly as l could in
my makeup. for 1 felt that imagination
could not invent better exempliication
of the type which he had created to some
extent perhaps from his own Individuality.
A TEST CASE.-In the Wisconsin legisla-
ture on February IA Senator Merton SUBJ
mitted measure to protect the rights of In
dividuals who purchase tickets TO theaters
or other places of amusement, providing for
the punishment of managers of such places
by fines of from S25 to $100 or imprisonment
of from twenty-five days to six months for
the attendance at performances
of any person who has secured a ticket
This will have a bearing upon such cases as
that of Ernst Kronshage, dramatic critic
of -Nfifwau kee, who was refuced admission
to the Davidson Theater because the MAN.
ager objected to his criticisms of plays at
that house. ffs S<S
AN INDUSTRIOUS PLAYER. - Albert
Chevalier is more of an Englishman on the
stage than he is?off.- He does say me boy"
but that is as much professional express
sion as it is English. But were ChevaIier
never to utter~a word no one would mistake
him for anything but a Briton.S Not tall ,<he
has the full face Of the traditional actor
His manner as quiet, unobtrusive and easy,
and after a weeks engagement in Chasess
he IS OF friendly terms with the "boys be-
hind the. footlights," an almost unprece-
dented condition, for theatrical stars are
more likely than otherwise to look askance
upon their brethren Of the grip and spot
light" and open ruptures and even hostile
ties are frequent. In the. dressing room at
Chase's last night he talked about his cae
reer and his plans while making up his. face
for -sFhe Fallen e II was Intended for
the priesthood. said Chevalier. quizzicaHy.
IT have no regfets. aud rather think the
life saits me better. Before be-
gan to specialize nay work I was an actor
for fifteen yearst I'M London and the prov
inces 1 played wthethe Kenda1ls. Sap.
Bancroft, John Hare George Alexander and
many others, a prikinat eds parts.yi the
first production lot tin Pnero plays, The
Magistrate and-.The Schoolmistress. 1 was
the original Silas Hobbs, the grocer, in the
first. :perfornancer of your Mrs Burnetts
Little Lord Fabutleroy.' When the Ken
dalls came to this country first It was IN
tended that Should leone with, them to
Of salary stood in the way. L. K Dodson,