Evening star. [volume] (Washington, D.C.) 1854-1972, 1905-04-30

the season were in evidence at the
Washington theaters last week.
Il cousin Billy" was interesting
largely because of It's implied as
surance that Mr.. Francis Wilson had deter
mined to try the simple life. He came before
us In the guse of reformed comic opera
comedian He gave forth the declaration
that he was through with the frlpperles OIL
rhyme and dancing. Henceforward he would
be a sure-enough actor and live In an at
mosphere of art for arts sake lie apsehteu
himself from the stage for a long preIlih-
mary season. and his admirers drew mental
pictures of him, brooding like a Buddha ana
mapping out lofty lines on which to mold
new and nObler destiny. There was appre-
hension when Mr.. Wilson made TINS an
nouncement, for when a player develops
SYMPTOMS of higher art his troubles ana
also those of his audiences, are Hkely 10
begin. But Mr.. Wilson dismlsses all THESE
fears Although Cousin Billy is not
comic opera Mr.. Wilson is still a comic
opera comedian. There is no bevy or plrou-
citing and warbling show girls. Mr.. wilson
is his own ballet, and gives display Whlch
should content the most violent advocate OF
anatomical audaCity. He does not sing IN
Cousin Bflly''-but Mr.. Wilson hlmseh mas
told US that he never did sing. And the
little lyric which he recites is quite as
effective as many a topical song even
though much shorter. Mr.. Wilson INDUCES
in all the old pranks which used to charac-
terize his adventures in surroundings OF GIT
and gauze. William jerks Of Allentown
although obviously designed as character
of notable quality, is in reality very incon-
seouential parsonage. 1t is no wonder that
l.; do md 10
Francis Wilson take his place. The actor
makes no attempt to lose himself IN the
part" If anything it is the other way
around. He launches his jests with de-
liberation which warns the audience that 1t
is time to laugh. He bestows an emphasis
on the points in the dialogue which leaves
no possible chance of their getting away.
He nails them down and then calls the au-
dience 10 INSPECT them This is the legiti-
mate method of the comic opera star. He IS
and must be 1T. So supremely does he
dominate that he must struggle to make 1t
known that there is an author concerned
But in a legitimate comedy the method Is
more. subtle. The player must stand or
fall by the author, and no amount of per-
soual effort will save the work If his own
individuality and the lines do not harmon
ize His method of leaving comic opera Is
a cautious one. Mr. Wilson, while opening
a new field of possibilities, has burned no
bridges. He could step back into comic
opera next week and be as welcome as the
prodigal son.
The one-act play is assuming unwonted
prestige Miss Maud Adams uses Hop o
Me Thumb to sustain an interest which
might easily wane if she depended entirely
on the somewhat frayed destinations OF
Lady Babbie. And Mr.. Wilson makes his
genuine appeal to critical consideration in
THE Little Father of the Wilderness,
whose Importance is far beyond measure
meut by the length of time consumed in its
presentation. 1t is a play which any actor
might feel proud to contribute to the
American stage.
X X < x
Another reform is promised by Mr. George
AIDE. who wrote the Iibretto for The Sho-
Gun" which closed a weeks engagement
at the Columbia Theater last night. Mr..
AIDE has announced that he will write no
more comic operas. He frankly says that
plays like The County Chairman are
more TO his liking Mr.. AIDES muse is
sDr.ghtly, but size always wears a Bingham
gown. She is robust and industrious, but
she seems always on the verge of eating
with her knife or saying 4 seen him" Mr..
AIDE is TO sever his association with Mr..
Henry ". Savage and cast his lot hence
forth with Charles Frohman. Mr.. AIDES
declaration makes it clear that it is not Mr..
FTOhman intention to make a feature of
musical comedy in his future program.
Mr. Frohmau made a mammoth musical
production of musical comedy some years
ago-one which despite the fact that it
pleased many people by its vary lavishness.
was finally dismissed as a failure. Yet
never a season passes that does not bring
to attention several stars whose talents
first found conspicuous recognition in The
Girl from Up There"
y \
THE Shotgun is an Illustration of Mr..
AIDES indifference TO accepted models of
play constructions. It's plot does not begin
to assert itself until the last act is nearly
over. The idea of unionizing the execution
ers and all the rest of the Sho-Gun's
servitors, and finally permitting the come
dian, as walking delegate, to usurp the
throne, is distinctly humorous; but it comes
too late and is not sufficiently developed to
justify the arrangements description of the
piece as "a satire" The demand for satire
is evidently far beyond the supply for If
- 'i4~'S'N'A4 No4lANbS curtains Il passing anu
sion 10 anything recorded in the newspapers
within the year. it is Immediately heralded
as a satire.
x \
The return of Ben Hur'' is a reminder
that the greatest successes are those which
have substantial foundation. The great
religious spectacle has dramatic interest
which subordinates even the Respondent
scenery employed in its presentation, and
despite its familiarity, it remains one of
the leading enterprises of the current dra-
matte season. The public loves to laugh.
but its most loyal appreciation can be won
only by taking it seriously.
PHILANDER JOHNSON