Evening star. [volume] (Washington, D.C.) 1854-1972, 1908-02-09

been the delight OF many theater-
goers for many seasons that ap-
3 peared last week. And yet there
was d new note in his work: hearty,
almost boisterous spontaneity that his
niore scholarly offerings have not per
.n.,tted 1t is true that Mr.. Skinner
with all his artistic punctiliu has per-
nlitted himself. SO to speak. an occasional
Tollic. in the role of Petruchio. But
for the most par; he has been first and
foremost a student one who seemed to
take his text from Pope's touplet about
the proper study of mankind being man.
His object has been a frank elucidation
of human nature in its varied moods and
environments; the study oi types and
iemperameIits. Nor does he depart from
this standard in For the Honor of the
Family; the character of Col. Bridau be-
ing az distinct but recognizable specimen
Of this wonderful human race of ours
That he is fascinating and enormously in
teresting is subordinate considerations
the main point that claims attention in
his behalf is that he is real. The drama
list. Paul Potter. has been almost SELF
sacrificing in refusing to surround him
with the customary dramatic assistance
in gliding, and elevating the character OF
a hero. There are no melting love
speeches no lady in distress. no reckless
adventure for the honor of the king. and
that SORT of thing The only fight he
cages in happens between acts. and all
the. gore-craving auditor gets of 1t is n
passing allusion in the subsequent dia-
logue. In point of incident the play
seems almost barren, but Col. Brijau Is
his own storm center; n cyclone within
~fr,l all ON.
II is one of the most attractive roles III
which Mr. Skinner has appeared.
The dramatization of THE Right OF
Wax'"- presses toward the opposite ex-
trerne Character study Is sacrificed to
incident and the appeal for sympathetic
interest This does not necessarily I'M
ply that for practical purposes 1t is not
a good play. 1t is doubtless nice prob
lem in launching a production with
view to box Office statements and royal
ties to determine just how far it is neces-
sary to go in order to satisfy. the public's
unquestionabie- appetite for conventional
tiles. The hesftancy of Gilbert Parker to
allow the book to be dramatized is largely
justified by the work as it Is now pre-
sented. The play is creation almost In
dependent of the story. Its characters
are familiar: The wonderful TRANSFORMED
ton of Charley Steele. the cad. the bound
er and general scamp. into a devout. high
minded man is overshadowed by the plot.
which eenters upon the old story of d.
loveless marriage and the barrier 1t pre-
sents to sincere attachment. The i'm
preston of -bigness is gone. The great
landscapes and SHOWS and fierce storms
are no longer reflected in the characters
who move amid them. 1t is. after all.
only the story OF drunken husband who
Is finally reformed. and who by the very
convenient. though. of course. duly la
mented. death of his wife is permitted to
marry. the woman whose appeals to h.S
sentiments are genuine. This story is in
ferestingly told and finely acted. Guy
Standing. embodies the hero of the play.
though scarcely the hero of the book.
handsomely and efficiently. and Theodore
Roberts contributes fine piece OF char
acter werk as Joe Portugais- 1t is
combination of problem play and melo-
drama. which frankly rests its interest
on the usual resources of the dranatist.
The originality which SO distinguished
the story is practically ignored. There is
still another play left in THE Rigk; of
Way
The success of any performance de-
ponds largely on the attitude of the aud
l;or- Sad mistakes arr constantly
curing. such. for instance. as the at
tendance of family of children at d
presentation of "A Dolls House in the
belief that 1t was a nursery pantomime or
cOnfusion<Of Burton Holmes the lecturer
with Sherlock Holmes of detective fame
Sucn things often occur. as the man in
the box office will testify. Fashion may
yet prescribe some sort OF costume or
makeup for different kinds of attrac-
tons: evening clothes for the society
drama, sombreros and spurs for the cow
boy drama. foot ball hair for the college
play, and for the Ibsen drama something
neat in Grape.
such an arrangement would enable a
play patron to know on the instant
whether he had gotten into the wrong
place. and to lose no time in asking for
his money back. Imagine college hair or
sombrero and spurs getting into an Ibsen
performances! The taste for Ibsen is
something inborn- 1t cannot be acquired
And 1T Is doubtless right that the people
who enjoy Ihsen should have a chance IN
revel IN his CHASTITY fancies at least once
season. There will be an abundance of
george AIDE and Harry E. Smith later on.
RoSmcrsholm' should possibly NOT he
discussed save from q sympathetic stand
.po:nt- The efforts 10 present plays of Sc
rious intellectual quality are all too few.
Yet the unloveiy side of human nature is
so harped on BY Ibsen that MS characters
take on the ASPECT of the morbid and the
EFFORTS OF SO good band of players as the
Manhattan company seem ill-bestowed on
the. work that occupied il at the Belasco
last week 1t is question whether a play
like 'Resmersholm' represents inteilec-
tualitv or mere unwholesome enotionalit
The protest againstN society and its re-
strictions is usually shabby excuse for
some temperamental extravaganza. When
stage character begins to declaim about
wanting to live my life. to be free" etc
etc. il is usually safe TO make for the
open -aSr-upless You happen to be an
losenist. in which case II is entirely your
own affa.r. PHILANDER JOHNSON.
-ff.
THREE STARS IN ONE PLAY
This season is the first for twelve wears
that three stars have, headed a Casino
bill. The last consisted of Lillian Russell
Jefferson De Angels and Della Fox. who
were co-stars in 1.-The Wedding Day."
After, more than a decade one of tho