Evening star. [volume] (Washington, D.C.) 1854-1972, 1906-04-22


be novelties in the accepted the
atrical sense. Both were long
established and familiar land
marks. remodeled, however, with much skill
and redecorated with considerable taste
THE Optimist'' disarmed criticism at the
very outset It's title was an invitation 10
he generous. A sunshny determination 10
look on the bright side OF things disclosed
many noints of merit in Mr.. Sydney Ro-
senfclds latest production. Its most ap-
pclling elements are some very dehghtful
bits of chara CterizatIons scattered through
the action, but with such lack Of system
and proportion that they seem occasionally
almost irrelevant The motive OF the play
as outlined IN the opening scene Is slender
and inprobable The woman whose af-
fectIons are so eagerly sought for Is impos-
sfble in her prejudices and her selfshness.
No actress could endow so ENJOYABLE a role
with sufficient personal charm to make her
a logical heroine. Her whimsical desire to
r1ouopolizc the affections Of a rather lout-
ish and overErown brother is inordinate,
and her suspicion Of the man with whom
she is In love makes the type entirely too
ucurotic to be consistent with feminine
noise and dignity The young man who
weers public tears because he has been
Tilted is a natural and realistic representa-
ton of a phase Of adolescence which does
not usually claim the sympathy to which
it is possibly entitled The character IS
essentially uulmpressive and yet the play
yvrisht has permitted it 20 linger constant
~ in the foreground.
s. s.
M. Gilnour's role would normally be the
most conspicuous one In the play, since 1t
is he who is supposed to WELD the power
Of optimism in such a way as to bring
order out Of sentimental chaos and hap
plness TO all concerned. But the role does
not dominate at any time It is one Of the
most passive and subordinate in the cast
OF characters. His curtain scene in which
he triumphantly declares his conviction to
the woman of his choice that she loves
him. IS. so far as he is individually con-
ce-ned. a good bit of defamation, but 1t is
an obvious EFFORT to exaggerate the I'M
nortaure of a fragile episode. Miss Char
lotte Walker was a charming revelation.
Il IS said that she always desired to play
comedy. Indeed she has declared as much
IN the public prints and the manner In
which she carries this part should be a
strong argument with managers for al
lowing players to follow their own prefer
ences. Delightful as Miss Walkers por-
trayal Is the part itself Is inconsistency
drawn In one scene she is a frank, viva
cious, generous girl, and in the next she is
cold. calculating and sordid. The sugses-
ton OF a pang at parting from the young
ster. who at this juncture proves himself
a cad. must be entirely within the audi
tors own mind. There is nothing in the
dialogue or action to suggest It.
4
In Money Talks" we have still another
collection Of loving young people whose
fortunes are being industriously supervised
by their superiors IN age and fortune. In
Just Out OF College" some more of the
same. Money Talks is the fourth play
IN which Mr. W. H. Thompson has ap-
peared within the year. There is danger
that this excellent actor will have to sup
plement his well-known and admitted ac-
complishments as a player with those OF
the lightning change artist If this rapid
shifting from character TO character is to
be continued. He and Mr.. Wheelock were
both in the cast of-''Londou Assurance" in
which Ellis Jeffrey appeared as a star.
Then Mr.. Thompson returned in the prod
igal Son." and again in 1.-THE Bishop" In
his present performance Mr.. Thompson
euacts a role of the kind which William
Crane has been prominently and custom
arlly identified. He plays It with his
usual skill. exaggeratng neither the COM
edy nor the sentiment. but at the same
time preserving both in their fullest sig
nidCauCe.
Just Out Of College" represents the con-
summation which Mr.. Joseph Wheelock,
trs admirers have long devoutly wished
Mr.. Wheelock's performances are always
reliably good. His representation of the
stellar role in this new farce does not serve
a
and Lady Aigy." nor his more recent por-
trayal Of the youthful and unwilling hus-
hand In Annie RusseIrs presentation OF
Brother Jacques nor his Dolly spanker
In London Assurance"
When George AIDES play. "The College
widow was first presented the assertion
was made that he was not and never would
DE "a constructive dramatlst. Just Out of
College gives promise that this prophecy
VIII not be fulfilled. The latest AIDE farce
IS nothing II not constructive. Instead of
crowding the stage ad libitum with strong
~ drawn characters he has resorted en-
tirely TO situations, bringing the hero OF
his story into one comic plight after an
other and multiplying his endorsements
with a lavish facility which none but
student Of construction could attain. 1t
is a farce that follows accepted models with
academic fidelity. The playwright has
curbed and brldled himself and the auditor
misses the pranciHs gait with which he
first set out TO trample the conventionan-
ties Of playwriting, but the homely phi
losopHy and the quaint comments on hui
man nature in general are still distinctive
and fun Of redceming quality.
some time ba
fered in this chapter that the coincidence
represented by date for the opening of an
endowed theater IN New York and that
which Mr.. Richard Mansfield had set for
his retirement from the stage might mean
that the new enterprise was to claim the
services Of this widely popular actor. The
suggestion was taken with a seriousness
that was almost startling. Newspapers
all over the country have discussed Mr..
Mansheld's capabilities. for such a post
with studiOus care, and the general YER
diet seems to be that II would be u most
desirable selection The Theater Maya
zine which ranks easily as the most or
nate OF all publications which discuss the
stage, takes the matter under profound
consideration. admitting Mr.. Mansfelds
scholarly fitness, but questioning his pos
session of that tcnperrnental reDose which