The sun. [volume] (New York [N.Y.]) 1833-1916, 1906-11-11
The AMERICAN REALISM.
"THE THREE OF US" HAS IT,
"THE LOVE ROUTE" LACKS 1T.
Rachel Crothers and CarlOtta Nilsson
Breathe Life and Interest into a Domes-
tic CInematOgraph Edward Peple and
MeiOdramAtic Realism-May Irwin.

Wv 80
Me~iOdrsmatic Realism May Irwin.
In the pressure of much talked Of dramatic
events let us not lose sight Of the modest
little play by a modest new playwright that
opened a fortnight ago at the modest new
Madison S~quare-waich was so long the
immodest old haunt Of French farce timed
in boracic acid for American consumption.
The Three Of Us" has only native simplicity
and truth to commend it, but already it has
survived more than one ambitious effort,
and 1t seems likely to flourish as a primrose
by the rivers brim when many a dollhouse
flower Of the drama has faded and been cast
into the ~wastebasket. 1t is now half a
century since Philip James Bailey ex-
claimed upon
America! half brother OF the world!
With something rood and bad Of every land;
and in our drama, as in our dim ers and
our dress, we still look abroad for the lead
ing fashions. But Miss Rachel C~rothers's
maiden effort will serve to remind us that
there is another half to u makeup, and
one worthy OF more attention than it often
gets.
The quality which commends this better
half is a sort of democratic realism. To the
English stage, our strongest foreign infu-
enoe, we nave been indebted for the comedy
OF high society in which folk OF the common
lot serve somewhat basely as foils for the
socially elect. To the French stage we are
owing for the well made or. as we should
now say. the manufactured play OF situa-
ton. The Three OF Us tells about a group
of the most commonplace Americans. East
ern residents in a Nevada mining camp.
One of the young men, it is true, is said TO
belong to the smart set OF New York, but
any presumption based upon the fact is cut
short by the counter allegation that his
rival in love-his successful rival, as things
turn out belongs to the smart set OF Kansas
City. The French tradition Of situation is
somewhat more honored; there is, in fact, a
complication" of the usual sort, culminat-
ing in a q great" scene in which the heroine is
discovered alone at night in the villains
bachelor apartments. But the spirit OF the
scene is so untraditional that it constitutes
breach Of the custom quite as much as an
observance of it.
1t isthe truth unadorned which has COM
mended Miss Crothers's play, but it is also
the truth seen with an eye for subtle humor
and beauty. There are times when the
action is like the colored cinematograph
of daily life. Breakfast is over. The cook
clears away tne ultUte. lu6 lazy younger
brother dawdIes until he is late for school.
The lazy elder brother reads the paper,
chatting at poverty and the lack of oppor-
tunity. The capable elder sister also feels
the narrowness of her life and is wearied
with routine, but she rebukes one brother
and sends the other on his way.
1t ID winter and somebody slips on the
drippings from the caves. The cook scat
tar- a &c ahnraI nf aaha5 anL ShA naxf
goer does not slip. A neighbor comes in
to borrow china for a dinner party and we
hear the amusinglv intimate gossip Of the
village, mingled with the memories OF an
earlier and happier life. There is some
strange fascination in this sort Of thing.
People who have lived it all their lives like
to see it-and people whom it would drive
to desperation in three weeks.
But there is moro than this in The Three
Of Us The sisters young man comes
in and tells her that he has made the dis
covery which means that they can marry.
There is nc frightening in the dialogue,
no uuickening in the action, but of a sudden
the audience is glowing with the surprise
and delight of new happiness-moved by it
TO the verge Of tears. 1t is a triumph for
Miss Crothers and it is no less a triumph
for Miss Carlotta Nilsson, who plays this
Rhy Mdcchesney. II il many a year since
we have seen SO searching an effect SO
simply achieved.
Business complications arise owing to
the recklessness Of the Disconnected brother
and the jealousy of a riy al lover. Rhy is
tricked into a promise not to speak OF Ger
tain matters, and her silence brings on her
the unjust suspicious. 1t is-to beg rele ase
from her word that she goes late at night
70 the villains rooms. The means and the
manner in all this SAVIOR somewhat I'm
pleasantly, as / have said, u the conven-
ton of the we'll made play but though the
course Of events has little OF nothing Of
the inevitability Of the drama Of simple
character it is by no. mean unnatural.
Things might have happe ned otherwise
perhaps they might better have done 50.
But they also might conceivably have hap
pened thus.
When, however, the young man Of Rhy's
heart discovers her closeted with his riva al
the play rises finely TO the truth. With an
outburst OF feminine pride that went TO
the hearts of the women in the audience
this heroine declare that she stands by
her knowledge Of her own innocence and
does not fear what the world may say.
She turns her back with equal scorn upon
the man who has tricked her and the man
who has doubted her honesty. The touch
Of nature and Of courage which redeem
this plot would have ruined the hundreds
Of plots from which it borrows its main out
lines.
Rhy's disconnected brother uses the
money he has got for her lovers secret
TO TAX him out Of the pinch Of poverty
into the world of opportunity. As he is
stealing away at night Rhy surprises him
and begs him to give up his plan. Here
again the pulse OF character and emotion
beats strong. Rhy argues long and ear
nestlyt that the boys own good name re-
quires him to stay, and he is obdurate.
Finally she pleads her own cause with him.
throwing herself upon his protection a.
head Of the family. Then for the first
time he falters and breaks down, taking
his sitter in the arms Of boyish protection.
Here again Miss Crothers and Miss Mill
son rise to the height of strong and true
emotion.