Evening star. [volume] (Washington, D.C.) 1854-1972, 1905-12-31

A FTFR much waiting, the play has
~ materlalized to which the mind
turns with reminiscent satisrac-
a ton. Something more substantial
has been set before us than the
evanescent buildings of song and fieeting
sclntillations of scenic splendor. The chorus
girl was temporarily banished from the
footHghts, and the impression, fast gaining
ground, that the drama was to consist only
of blond wigs and smiles, surmounting pink
parallelCgrams, has been gratefully dis
PEELED. Indeed, there were two such hope
full plays presented both of them good,
solid. human-nature dramas, and both
strangely enough written by men whose
greatest fame and success have been
achieved in the construction of pieces of a
frivolous and unsubstantial nature. MI.
c. NJ S. Mcclellan, the author of Leah
Kleschna," went further in his flights of
frivollty in his earlier writing career than
did Mr.. Clyde Fitch. His muse frequented
the haunts of song and the grille grille
rhymes with which he used to inspire Gus
tave Kerker to Casino melodies. were
something so utterly ridiculous that they
came close to the sublime. He employed
the nom de plume Hugh Morton" jus.
why nobody really knew, for Mcclellan
was always the name mentioned when any
one asked who the clever librettist of the
Belle of New York" was.
Interesting and adm .rable in many re-
spects as Leah Kleschna' is, the play
would scarcely command the respectful,
almost reverent, attention it has received
were it not for the wonderful artistic
strength concentrated upon it's perform
ance. 1t is the kind Of a production which
might easily deceive the metropolitan critic
who as the evening wears on glances I'M
easily at his watch and thinks of the hour
of going to press. If he allows himself to
take any of the play, especially the latter
portion of it, for granted ms stead of seeing
1t, he is likely to form a belief that 1t is
one of the greatest dramatic creations of
recent years; for every scene considered
independently. is a work of art. But in the
assem5lage Of these finely wrought and
highly polished parts there is lack of har-
monioUs relationship, and the plot, instead
of moving easily and rapidly has to be car
ried along by the sheer strength of the
acting company. What a company ii is. 1t
was Ike seeing one Of the productions that
were put on when mana gers could afford to
keep on the payroll of a single organize
ton half-a-dozen people who are now read
ing their names in large type on the bill
boards as stars. Mr. George Arliss is. of all
the actors seen here In supporting casts
this season. the one whose future prom
ises the highest development. To play the
part he has in Leah KIeschna" without
buriesque or caricature, and yet. to make
its humor stand out as strongly as its con-.
temptible villainy requires man who
knows and feels acting not as a trade. nor
as profession but as an art.
MI Ar.lss, it may be remarked in pass
ing with all his culture and certainty Of
method, is not afraid of innovation. He
has invented wholly original style o. ges-
ture. Other actors. from time immemorial
have sawed the wind with their arms in
every conceivable curve or angle In the
scene where he throws himself upon the
sofa. in parOXylsm of derisive mirlh.
these familiar methods he finds inadequate.
lie Is the first actor to lay down his arms
ana gestlculate with his legs.
The casting of both the Fitch play and
the Mcclellan play reveals the tendency. IN
the higher drama to follow a method
which has long been employed in so-calIed
standardization this worlds traditions OF
gayety have faded since II was first i'm
ported from France-in employing a PLAYER
Of much reputation to attract attention ana
then depending upon the energetic industry
OF less famous performers 70 provide sub
stantial entertainment. Players Of repu.e
are becoming more and more willing to al
low the good lines and strong situations in
the play to follow where they will. The
ideal part for star is no longer a mono
logue with occasional Interruptions, and
Mrs. Fiske is more to be esteemed as u
woman Of intellectual and artistic percep-
tion, because the title role of her play sinks
at times almost 20 a position of subordina-
ton. than she would be were it constantly
maintained in garish and artificial promi-
hence
4 x X
1t Is TO the supporting company. likewise
that Miss Walsh owes much Of +be I'm,