The San Francisco call., 1907-02-13
By Peter Robertson

The Greek Theater is a unique insti-
tuition. A good many people look upon
it as a kind of fad, and to them it is
an enjoyable novelty TO sit on the
classic benches in the open air. es-
pecially on such an ideal afternoon as
Yesterday, and listen to music or wit
ness plays But the Greek Theater has
a much more important significance.
1t means much to the artistic reputa
ton of California, and, indeed, seeing
that 1t has been made known abroad
by the fact of Sarah Bernhardt having
played 'Phedre" there, it rather helps
US against the shame graft has brought
on US. It is only beginning. but 1t has
already done something to elevate dra-
matte art, and all the great stars are
betraying a desire TO play on Its bare
stage. That may mean in the future
such classic productions as are not
known anywhere else in America. 1t
has been necessary to prove the at
traction, because hitherto we have not
credited that plays could be ineligible
without scenery and accessories, to
which we have been so long accus
toned that we are hardly impressed
now however elaborate they may be.
Yesterday afternoon w. H. Crane
played Goldsmith's IShe Stoops to Con-
quer." It is a great comedy: the way
il stood the test of the Greek Theater
made that only more emphatic. A table
and a few chairs were needed occasion
ally. but the first and last acts were
without adornment. In fact, one of the
amusing incidents of the afternoon
was when Mr.. Thorne, who had previ-
ously brought on a small branch of a
shrub, held it up and told his mother
to hide behind IL. The acting was more
effective than it has been in many pro-
ductions in regular theaters. Something
of illusion it lacked, but it was won
derful how interesting the play was,
how keen the character drawing and
how the dialogue shone out.
There is no doubt at all that the bare
stage is hardfon the actors. doubt If
there would be so many stars and high
salaried players If they had to act
without the background of scenery and
the aid of accessories. "She Stoops to
Conquer" was surely a test of Mr..
applause was liberal and the enjoyment
of the audience demonstratively keen
proved that it was good acting.
But Mr.. Crane had gathered a most
excellent ompany; ali of them were of
large experience and the principals
were people who had a thorough
knowledge of the legitimate. 1t was
indeed an exhibition of the kind of act
ing that is decaying Nowadays we
have old English comedy sometimes of
modern manufacture. acted in the mode
Of the twentieth century. The romantic
novels which have of late years been
so popular are really far away in man
ners and department from the time of
their action
Mr.. Crane has a long record of genu-
inc comedy successes, beginning with
farce and travelling through burlesque
to legitimate, ending with the most
modern comedy. He puts himself in as
Hardcastle. One would have expected
him to play Tony Lumpl1in; it is the
most grateful-the fat-part of the
play. But Mr.. Crane is sensible, and
seems to have tried more to give a
complete cast of she Stoops to Con-
Quer' than to pose in a part which,
however tempting, would not suit him.
Hardoastle is not an easy role, seeing
that It has no broad comicalities, and
yet il must be made amusing It re-
quires the subtlety Of long experience
as well as the natural appreciation of
character points. These Mr. Crane
knows better than any other comedian
we have today, and his Hardcastle,
though not the most vivid of his crea-
tions, will rank not only as one of his
best but as about the best old-fash-
ioned character acting before the public
Surely Mrs. Hardcastle to be re-
membered is Fanny Addison Pitt. The
thin and sharp but not unpleasant tone
she put into her voice when she went
into rage over Tony was Irresistible,
and her thorough admiration and love
for that holy terror" was wonder
fully natural and convincing.
George Giddens we knew years ago.
More than a quarter of a century ago
he was a clever young comedian. He
has been in San Francisco on three or
four different occasions and he has held
that position in London 1 have seen
a good many Tony Lumplkins. I fancy
the most perfectly amusing was Stuart
Robson with his extraordinary squeak
But next to him I am inclined to place
Mr.. Giddens. He has certain JUNCTION,
yet hardly enough. but he has a con
vincing readiness, a plastic mischievous
instinct, that relieves his performance
of all effort. and he is not too rough
or too vulgar.
Ellis Jefreys is facile actress with