The Seattle star. [volume] (Seattle, Wash.) 1899-1947, 1905-10-25


New York. and Miss Roberts hes
demanded uf them that they have
the fourth set eliminated and the
third act strengthened and made the
finale. or allow the company q re-
construct he play along the lines
suggested by The star
Miss Roberts Win also Insist IN
asmuch AZ she 4 the reputed star 81
the play. that she be given at lraaf
an equal chance 10 shine with Max
Flgman. BY having the serious cls-
mrnt Of the play aceentnafrd ard
the comedy element toned down.
Aias Roberts has been guartsiinK
with Armstrong from the very start.
on this very point. At each rshsar-
sal Armstrong would insist on In
tectlns comedy Just ~ the very
moment when the impression on the
audience should have been absa-
iutelY The opposite emotion.
Il - worthy Of note Ia thia con-
Hsction that ali the other Seattle
papsfn INDUCED in nothing bot Sim
pairing praise q star principals.
play and everything In critielsing
the production with no effort 60
anatyEe the play or offer helpful
criticism to the east
Not since ths first ntlnFy word
n praise accorded fne Ia my earliest
effafts has a criticism Of my uork
been such an event ar pleased me
- much. a. did The stars eom-
ments on Ann LaMout Monday"
50 said Miss Florence Roberts.
"Wednesday morning. uotxithutand-
lag the fast that the criticism re-.
fsrrst - pronounced
THE PLAY IMPOSSIBLE
IN its present form
The Stars criticism said Miss
Roberts. Il tha very first judirioun
criticism that has appeared about
Ann Ia Mont 1T HITS TIE NAIL
sQuARELY on THE HEAD. The
Stars criticism waa a confirmation
Of nay aWn opinion IN every particu-
lar; 1T POINTED OUT THE VERY
FAULTS AGAINST WHICH I
HAVE BEEN BATTLING ever
since I began 20 study che play"
Why. dan't you know nhs con-
tinuad. enthusiastically. Paul Arm
strong and I have been continually
spattinE about these very points
Mr.. Armstrong l. a genius. and no
one Il a greater sdnlrer Of his work
than l. but his best talents are ia
comedy. lie IL a natural born writer
80 Hefffssrf ..s....af.s "a =. =
ant II bis talent In this that II
SWEEPS HIM orr HIS FEET
la his effort az serious writing AT
during our rehearsal period Nf
Armstrong would SIT out In front
and would keep on chuckiuE fsaofe
comedy into the play. unable 10 keep
Il back. until hts original aertuits
motif was nearly lost sight Of Ard
now poor Ann faMont. where docs
she get Off Why. don't you khu,s.
every time poor Ann gets a ehance
To drag forth her serious problem
the comedy man comes on. then Ann
ard her problem are reiegnted to
the background. The hero and he
bad man roles are the same Thrk
N|AA# AAHt ANA AHAAAH HfANfN WY lf
their serious work when this rnaauh
writer OF brilliant comedy would
have another inspiration and block
them with something funny"
Miss Roberts stopped for breath a
moment Then she lifted fore
finger warningiy and continued.
\ haven't any hammer out for
Mr.. Armstrong. no. indeed. but /
do 10 want him 90 fix this play up
as serious problem play. The star
points out just how IL can be done.
and we are going 10 do everything
we possibly can 10 persuade Mr
Armstrong that that awful fourth
act must be cut.
AS TO that last act" said Florence
Roberts. and Wild fluff OF tawny
hair iooHeued from Its faatenings
and flew out over one ear with her
enthusiasm, Il just want 10 tell YOU
how | feel when ! 30 on for that
last act. Nothing described It quite
80 well NJ the word humiliation
FEEL. INUNDATED.
and degraded. Here Is Mr.. Villain,