Evening star. [volume] (Washington, D.C.) 1854-1972, 1905-04-02

The playgoer has been calieu upon W
make his choice. Which shall 1t be-"Ham-
let or the Ministries? Do you turn from
the loveorn but highly poetic maunderings
of Ophelia to the arrant avowed idiocies OF
ragtime? Does the somewhat methodlcal
humor Of the two gravediggers appeal less
TO your sense of humor than the up-to-date
illusions OF Mr.. Lew Dockstader or the
simian facial contortions of Mr.. Mel
O'Brien? The box office statements of this
week may exert potent influence on the flu
ture policy of theatrical magnates. Wash
.ingtOn has been the scene of a competition
between the substantial and the frivolous
in stage entertainment. The public Is the
referee. The critics have nothing to say
at least nothing very influential, for there
is a tradition in the theater that the mana
ger who listens too much to critics goes
broke. There is nothing more legitimate
than Hamlet" and no player more compe-
tent to worthly interpret the role than Mr..
Forbes Robertson. And there is no more
devout and erudite apostle of frivolity than
Mr.. DoCkstader And here they have been,
each with all the advantages that his kind
of effort Graves. asking the playgoer to
choose between them. This is commercial
Ism. But says Elba Hubbard, the eminent
philosopher. in one of his complimentary
paragra phs about other prominent per-
sons commerce is the great civilizer.
1t was unquestionably commerce that
opened up this continent. 1t caused
the noble red man to trade on his
birthright for glass beads and flre-water,
and brought him face to face with the TACT
that the survival of the fittest is ex-
ceedingly cold proposition. 1t is commerce
that is causing the war that may result in
.Nf In inns
the common people of Russia. In short,
there is no gainsaying the dictum; the ex-
change of goods or ideas by individuals or
nations is what keeps the world moving.
::
Messrs Klaw and Erlanger find them
selves at the head of the theatric COM
mercial system, with facilities to pre-
sent what forms of entertainment they
will They command enormous resources,
but whatever else may be charged against
them, it cannot be said that they seek TO
treat the publics predictions with dom
ineering disregard. They assume no lofty
pedantry. but frankly indorse the popular
acceptance of the Rogers Brothers as dis
tiusushed players, and of John J. McNally
As a favorite author. But they are willing
to give Shakespeare a chance. Earlier in
the season they presented Mr. Nat Goodwin
in a production of The Midsummer Nights
Dream, on which was lavished as much
scenic splendor as any extravaganza could
absorb But the New York public turned
from it so promptly that 1t never had
chance 10 be tried in the cities of America
proper. 1t is a misfortune that New York
is 50 often charged with the responsibility
of speaking for the entire country in mat
ters of theatrical taste for its temperament
is not calm. Messrs. klaw and Erlanger
are now Offering Mr.. Forbes Robertson in
Hamlet" 1t cannot be said that the same
discrimination has been displayed in the Sc
lection of company as in provision of
scenery and costumes. But Mr.. Robertson
is indisputably the foremost exponent of
that great role that the present generation
can boast. II audiences want him they can
have him. In the picturesque phraseology
OF Benning, dear public, lit is up to YOU"
1t is no wonder that Hamlet is so much
beloved by the actor who honestly esteems
his calling. His colloquy with the players
displays an art-idealism no less Intelligent
than intense. And the conditions of the
stage as Hamlet hints at them were open
to the same criticisms that prevail today.
Polonius. delightful old bore stands for the
lower intellect that demands 10 be amused
and scorns what amuses it. Yet ne is pill
antly ambitious to be considered en- rapport
with his superiors. Hes for a tale of
bawdry," says Hamlet in disgust. Polonius
would probably have liked Pinero.
Kansas, who is not afraid of anything,
has developed d dramatic critic who says
things in his OWN way. L. w. Howe, the
polite pessimist of the Atchison Globe,
r,tfg.
carry JOY TO the Goths and Vandals He
says:
The real musical critics are Mortified be-
cause the Globe said the first act of .Parsi-
raj concerns a man who shot wild goose
with bow and arrow. We still insist that
no man, wild or tame, can kill goose with
DOW and arrow. and We also insist that If it
were possible for wild man to Violate the
game law, and kill goose with a bow and
arrow, IL is not worth calling an audience
together at J:3O in the afternoon 10 hear
complaints about il. Richard Wagner
wrote Pdrsifal when old and sick"
1t demonstrates how easy it is for the
materialtst to play havoc with the trans
cendentaiist. But the tribe Of Polonius
having been convinced that those whose
good opinion they crave believe in "Parsi-
iai' VIII refuse TO smile even disdainfully
at TINS honest expression of opinion They
"''A N"'4'SIiPidtS any NeDulOuS mass
fancy that may be brought before them
with devout attention and declare that it
resembles weasel or a camel or a whale
as the supreme Wagneriaus NAV dictate.
But in their hearts they are saying This is
too long"
y
II Is worth a journey into the inferno
known as behind The: scenes to visit n
man like Mr.. Forbes Robertson. II is worth
the peril to life and limb, for the stage
hand Is quick to discern an intruder and
reckless In the instructive desire to ex,er-
inmate him. He loves to tilt at the
stranger with a section of a castle wall
or a bit of forest, and if he can drop a
bag Of shot such as is used for counter
weighing scenery, so as to narrowly miss
homicidal results. his soul burbles in silent
song. The elderly gentleman with the
opera hat and the bouquet talking to the
ballet girl with fluffy skirts is only fig
ments OF the artists imagination. The
stage hand would not allow the elderly
gentleman to survive ten minutes
Round by way of the back door of Elsi-
nor Castle, past soldiers with helmets tilted
on the backs of their heads In rakish neg
hgee and, perhaps. wearing raincoats over