Evening star. [volume] (Washington, D.C.) 1854-1972, 1908-10-11

- CONVERSATIONAL drama has held
undisputed sway during the past
week THE Melting Pot and
~ the NaZimova repertory consul
tuted an array of philosophic
discussion calculated to soothe the So
biologist and the savant. Grace George
play. ''Divorcons" was like sunshine III
the gloom but the majority of ,theater-
goers stayed under shelter amid the emo
tional and intellectual storm that ragged
The Melting Pot made profound
impression: an impression so deep, IN
fact. that people who do not care 1or
profundities will stop to think before see
Ing it. And this thought in time VIII
save number of thoughts afterward, Tor
the appeal of the play Is directly ana
forCefully to the brain. The central inquire
as played by Walker Whiteside makes a
powerful bid for what the playmakers
call heart interest" but the sentiment is
submerged in studious discussion Hav-
ing accorded 1.-The Melting Pot the full
est means of appreciation as literary
contribution, and Mr.. Whiteside the adj
Jniration which a really great actor prop
erly commands it remains to consider the
play as an offering for popular approval
If the public does not always appreciate
good acting and good writing and points
that are most interesting to people willing
to give close and unflagging heed to a
theoretical demonstration may prove for
bidding to the auditor expecting s. worth
of laughter or So worth of tears or So
worth Of opportunity to applaud. The
Melting Pot is too serious for laughter,
iy, 10, liCY Tea rS
and too tense in its sustained interest for
handclapping interruptions.
Every now and then Mr.. George Tyler.
the producing manager for Liebler 4
Co.. permits himself the luxury of pro-
duction which aims for art alone and
leaves mercenary considerations to take
care of themselves. When he has de-
cided on such an enterprise he is quite
likely to call in Mr. Zangwill to help him.
Mr.. Zangwill also finds relief, after much
toll on work that responds to current de-
mand in utterances that show high ethical
purpose and strong sense of personal
responsibility. The coincidence of these
moods on the part of Mr.. Tyler and Mr.
Zangwill resulted in the presentation of
1.-The Children of the Ghetto" a perform
ance which, though not much respected
by the New York ticket spectators, is
still remembered for the critical costa sizes
1t awakened. Many followers of the the
alter regret unto this day that they did
not see THE Children of the Ghetto"
yet a discussion of that work leaves the
impression that it was an education and
an experience; a duty more than pleas
ure. The recollections of that play were
sufficient to insure lively expectations
concerning the latest work from Mr..
Zangwilrs pen on much the same topic.
The dramatist, like every other bidder
for pubic attention knows that before he
can point moral he must adorn tale.
The Importance of the message he feels
called upon to convey matters not If he
cannot arrest and retain interest. The
great italian composer whose first ques-
ton about a musical work was, ''WilI
it grind?' doubtless helu the hand organ
in slight esteem and revered art much
as anybody. But what is art without an
audience?
The public necessarily approaches the
playhouse in a more or less juvenile spirit.
1t hears marvellous stories about a new
play and sees wonderful pictures of the
glories that are to be revealed. 1t hopes
for d holiday; an escape from the buzz
and humdrum of life S perpetual school,
just as the boy once looked forward to
circus. Information and good advice may
be found in books; and also very frequent
ly in newspapers. But print is associated
with the blackboard and the ferule and
the mystery of the curtained box behind
the proscenium arch IS as alluring to the
mature mind with suggestions of sheer
diversion as the Punch and Judy show is
TO the barefoot lad and his sun-bonneted
sister 1t is to be complete relief from
books and precepts- And when the drama
itself turns pedagogue there is bound to
be some sense of resentment, unless the
instructions are covered by the story
teller's choicest skill.
Even when the dramatist foregoes
PHILOSOPHERS and contents himself with
holding the mirror up to nature. he may
find it necessary to Jingle some gewgaws
OF physical establishment mental
sprishtliness in order to coax the infantile
subject TO quietude while ii IS having its
picture taken.
Mr. Zangwill realizes this, and goes
about his intellectual condescension in a
most anu ilidtler VI TACT
fashion. His habit as to plot is one of
elemental simplicity. The lowly lass
shall marry the highborn gentleman.
by way of variation, the lowly lad shall
marry the highborn lady. Having made
this concession the earnest. the superla-
lively earnest Mr. Zangwill declines to
further relax in his uplifting purpose.
His love story will be worked out with
due regard for the symptoms which his
scholarly observations show are usual I'M
der such conditions; but it is a subordi-
nate consideration. He has stern truths
TO utter. and he brings them out with
big honest emphasis. whether they are
agreeable not. And the children do not
cry for him. The success of THE Melt
Ing Pot Is something to be heartily de-
sired as an evidence that the theater-
going public is growing up; that it is
willing to think and think hard.
The acting of Mr.. Walker Whiteside in
this play was brilliant revelation: well
worth seeing. as one of the few instances
of consistent legitimate method combined
with great personal magnetism that the
personnel of the modern theater can show