Deseret evening news. [volume] (Great Salt Lake City [Utah]) 1867-1920, 1906-12-15

r ONDON, Dec. l.--Perhaps tne
terrific and well-nlgh universal
| stating Julie Bonbon" has re-
ceived in London win be good
medicine for American theatrical
managers, although II rather hurts the
feelings of US Americans In London.
william Archer. who knows and ad-
mires the United States. and who UNI
doubtedly would rather praise than
blame any American play. says he
thinks It Is pity that this play was
ever sent across the Atlantic, because
whatever Is said Of Its adaptability to
the requirements Of English audi.
ences, is bound to strengthen the idea
that there is a prejudice here against
American plays, and players
Mr. Llebler said TO the present
writer In New York last summer.
why Is II that they hate American
plays In England?" The answer was;
They don't, but the moro demon
strative part of an English audience
isn't used to the accent Of some OF the
American players who are sent to
England. and In some cases actually
cannot understand all that Is said.
Furthermore, outside Of musical com-
edy---where Il doesn't matter much
what is said or how II Is said---the
English audience requires definite
logical, clean-cut plot. There are. In
almost every season. several American
plays that would be welcomed in Lon
don II only they could BIO presented by
American actors with some under
standing and tolerance for London's
peculiarities."
The boos accorded to Clara Lip
man and Louis Mann on the first night
OF Julie Bonbon" at the Waldorf this
week were scarcely fair, any more
than the criticisms In the London pa
pers the next morning. But the play
was so indefinite and illogical, SO full
OF local illusions and customs that an
English audience wouldn't be likely
to understand. and was interpreted. so
far as minor members of the COM
pany were concerned. by actors so H.
suited in voice and style to English
notions, that the admirable work OF
the two principals was swallowed up
In the general expression OF dsap-
proval.
Arizona" was a comparative fail
ure her. and THE Lion and the
Mouse" was a complete failure, yet
70 this day, ARIZONA" is mentioned
by London play-goers as one OF the
best plays seen In London for years;
and as for THE Lion and the Mousse
l have yet to hear of an Intelligent
and experienced English critic, pro-
fessionai or amateur who has not had
high praise for the play, as apart
from the company. But both OF these
capital dramas were given by COM
ranles that had not been Chosen
In part at least-with a view to Eng
lish tastes, particularly in the
matter OF accent. As re-
suit, Breeze. who can compare
favorably with any English actor IN
force. sincerity and all-round dramatic
ability, was dlsconserted by Smokers
from the gallery at times when the SIT
uations In "The Lion and the Mousse
were most tense. If ne had been al
the trouble to go into training before
hand and tone down what were to the
English gallery gods laughable pecu.
haritles In speech and manner there
would have been no question about his
London success Also, II some AmerI-
can actress with more London EXPERT
enee than Marie Ellington had taken
the principal part In the play--Eleanor
Robson for instance--it Is seize to as
sert that Kleln's stirring play never
would have come TO grief in FINLAND
II only n little more intelligence
were used in the choice OF American
plays and players for expectation To
London, there would be less talk about
English prejudice against home pro.
ducts and less feeling on the mart OF
some 10000 Americans who are nor
manent residents OF London that thu
best side OF American drama isn't often
seen In England.
Here Is one who will be greater
than l." said Henrik Ibsen OF Augt,st
Strindberg. at the outset Of the latter's
dramatic career. and I,ondoners have
Just had their first opportunity OF de-
Gliding whether the great Norwealan's
announcement on his young Swedish
contemporary was prophetic or nnt
Whether any work from strindberg's
pen has been produced In the United
states one cannot remember, but there
was certainly power In each OF the
two short pieces OF his which were
given by the New Stage club at a
special matinee this week.
The FIRST AZ the pieces rendered IA
called Simeon" and It's scene IL tent
In the desert. Biskra, an Arab woman.
and Yussef. an Arab shelkh beloved by
Biskra. are cher,shing relentless yen-
delta against GuImard, a young lieu