Evening star. [volume] (Washington, D.C.) 1854-1972, 1908-03-08
~ UGH importance was attached
~ last week to series of do
nestle scandals. The per-
L sonages figuring therein are

fictitious. The plays constituting Miss
Nethersoles repertory do not rise to the
artistic level of the problem play. They
are mere gossip. OF Miss NetherSOle s
personal art there is little question.
Her well-grounded technique cannot but
command the admiration of the analyst.
and her emotional scenes are certain of
temperamental response. 1t Is to Miss
Nethersoles most sincere admirers that
her plays are likely to prove the greatest
disappointment, for her art is too fine and
. too powerful to be properly addressed to
the affairs of men and women who ex-
emplify neither great intellectually nor
spiritual quality. OF the ordinary jealous
les and quarrels involving correspondent.
the public is already confronted with a
melancholy sufficiency in the daily press.
The style of plays habituaily selected
for Miss Nethersole is the more to be
deplored because it indicates a frank
acceptance on her part of what appears
to be the popular estimate of her quail
ties. Enough allowance has not been
made for the attraction which she indi-
vidually bestows upon a role, and too
much stress has been placed upon the
type of character. She has become
identified with a certain line of parts
because OF the OraHatlc SITUATIONS
in which they figure than because of their
especial fitness for the expression of a
great actress art. woman capable of
portraying human emotion in its utmost
intensity should not be restricted to a
single phase of emotion nor to a single
motive. 1t is in the plays where tenn
peramental study is the dominant pur-
pose. and the events of a mistaken life
plays such as "Magda" and Carmen"
that Miss Nethersole wins discriminating
regard.
Yet the attitude of the public has I'M
questionably appeared to encourage the
course she has adopted. No matter how
lofty may be the plane of Theatre en-
deavor, the Shakespearean adage 'those
who live to please must please to live
confronts the player. Miss Nethersole
is most impressive in those scenes which
depict intense love. Early in her career
the phrase 1.-The Nethersole kiss origi-
mated. So widely was it accepted that
comedian was accustomed to get one of
his best laughs by interrupting two young
lovers in their billing and cooling with the
exclamation. stop that Nethersoling!"
play was dragged through the newspa-
pers like the reports of Pittsburg di-
vorce trial, and the result was a pub
licity which. although enormous, was of
questionable value as an assistance to
solid and enduring esteem. "Sapho'' is
still regarded by many as a curiosity
rather than as a play. and the actress is
mistakenly accounted no less remarkable
nr or aud oif far
THE Awakening and THE Enigma"
are both examples of story telling with no
purpose beyond the satisfaction of morbid
interest. 'Pagliacci." although still tell
ing the story of man, his wife and an
other, has the fatalistic quality which
gives it the higher note of tragedy Cir
,cumstances rather than her own lack of
moral nature have placed Media in the
plight which calls for the sympathy of an
audience. Carmen" and "Sapho' both
have an exotic quality, which makes them
less intimate in their appeal and there
fore objectional. than the morbid explora-
tons represented by 1.-THE Awakening"
and 1.-The Enigma
THE Rose of the Rancho" proved to be
another Belasco presentation The word
melodrama is construed as implying a
certain artistic reproach, otherwise it
might be applied here. The element of
physical peril is strong, and personal
heroism is at a premium, but all this does
not overshadow a pretty love interest in
which Frances Starr figures most accept
ably. 1t is not a play with any great pur-
pose to fulfill; either moral or artistic but
1t Is good and characteristic specimen
from Mr.. Belasco's wonderful workshop
Toddles" becomes matter of extreme
solicitude. The play had great success in
London. but Washington has liked it only
mildly, and its future in New York is by
no means assured. The man who origi-
mated the principal part in London came
here to interpret It, but Saturday turned
it over to Mr.. John Barrymore in the hope
that the central character would be more
convincing IL somewhat Americanized.
Mr.. Barrymores appearance Saturday
afternoon did not materially change the
general effect of the piece, which during
its engagement here has been met with
all kinds Of receptions ranging from ire
pressible hilarity in one part of the house
TO stolid apathy in another.
PHILANDER JOHNSON.
NAZIMOVA.-The management Of the