Evening star. [volume] (Washington, D.C.) 1854-1972, 1908-11-01

the problematical solemnity
that the stage has lately as
sumed. There was only one
nrobIem play in our midst. and as usuai
There did not seem to be any definite an
swer. 1.-The Right to Live represents
kuestion that so far as this particular
work is concerned Is referred to the DOCK
Ing agents after conference with the oox
offices.
The Toe Weber show is a gleeful assem-
blage OF things old and new.
singing entertainment must nave, III
addition to novelty, certain amount OF
good, old reliable material. Such matter
Is discreetly and effectually interspersed
through the Weber show. production
Of this type Is not intended to be submit
ted to close analysis and any comment IN
that lire is OF strictly gratuitous and in
consequential nature. 1t merely helps to
make talk. For instance, nobody cares
about the age of the witticism to the eff
feet that in addition to being hard" for
man to lose his wife, II IL almost i'm
possible" The practical demonstration
which occurred on the Belasco stage that
1t has not outlasted its usefulness is in
teresting and its application to the imme-
date need of that burlesque was unques-
tionably useful. One of the bits of dia-
logue in which Walter Jones was engaged
concerning money due him by one of the
other comedians harks away back to the
days when Dan Rice was the premier of
circus clowns. The sum mentioned In those
days was S11. Drop it, says the ring
master. All right" says the clown. you
drop it and I'll pick it up. And so on all
iibtum, ad infinitum. bit of panto-
mime that opens the third act looks like
direct importation from Paris. but some
how IT weaves tremendously into the
general scheme. And Charles Ross is one
OF the most agreeable entertainers that
the stage has to offer. Yet he absolutely
disdains the conventional extravagances
of costume and absurdities of speech.
There is no guessing musical comedy or
travesty. or whatever the management
may choose to call this peculiar style Of
entertainment
one of the most extraordinary bits of
lyric composition heard in some time is
Blanche Rings song, "Yip-i-ade-i-ay." 1t
Is strange and alluring musical mosaic
1t probably had its origin in an old Lon
don thief song beginning Il met police
man on the Strand" and using the re-
frain. "Luddy, fuddy. yip-i-uddy-i-ay"
The music is reminiscent of all sorts OF
things, the rhythm being something like
tEat of Gounod's Funeral March Of a Ma
ricnette.' incidentally the cello obligato is
the Miserere from "Trovatore The
words are made up as far as possible of
cClloquial expressions which fall familiar
~ yet pleasantly on the modern ear. The
sum total Of all this material, as blended
under the orchestra leaders adept baton
is work that is almost irresistible in its
wnistling quality. 1t is said that Miss
hing doubtful about giving the song
place in her repertoire, which shows,
as Mr. q. Bernard Shaw has remarked
1.4at you never can tell.
the case with almost every per.
former who has succeeded OF late in pleas
ing the public to any exceptional degree,
A.iss Ring is announced as one of next
seasons stars. Miss Ring is always in
evidence when there is any opportunity
Whatever tor her 10 impress herself on a
scene. And she always manages TO be
prominent without conveying impress
sion that she is forcing the situation. Her
work shows not only great personal abll-
ity, put u recognition of the value of not
depended on 10 take care of herself in a
crowd as well as i'll d monologue.
Miss Hattie Williams brought to view
another comedy written around title.
.-Fluny Ruf1ies is one of the plays which
develop a plot after the name has been
selected. and it must be frankly recorded
tnal the plotsmith has done good work.
4 l.e. piece is as intensely English as il it
were on the Strand instead of on Penn
s,...!.la avenue, and the National Thea
IL. ...sn. nave called itself Teater
for .ne sane of conforming TO the occa-
sion anu dropping an ii. Ii Was an enter
talnmeIIt That aims to be jovidi Father
tnan conservative. and as SUCH IS pound
to meet with variance OF opinion as to
its merits.
The play The Right TO Live" might
tie uascrIoed in tniee woros: creepy,
Hecpy. sleepy" 1t IS one OF the numerous
Mo.hs recently submitted 10 public atten-
ton 10y Jules Eckcrt Goooman. II displays
unquestionaole literary skill and pictures
faithfully and inteiligentiy types not ire
4GentIy displayed on the American stage.
j. IS "a sIuuy OF our own times and peo-
pie VINO exist about US portrayed with
lar less emcieney IMAM it's merits would
properly CLAIM. Some OF the emotional
ism OF the performance vaguely suggest
cd airs. Leslie Carter at the age of
eleven.
Any play writer who is determined to
exert himself to supply the demand for
real melodrama unquestionaby asserting
Itself among the Iheater goers, shouiu
STUDY HIS Terrible secret. Melmoth.
the man monkey, is about the most har-
rowing contribution TO the Iootlights
since the days OF Or. Jekyll anu Air Hyde.
The Idea Is 50 grueSomeiy Impressive
that interest survives in the face OF act
ins which is inadequate. As a matter of
fact. the popular price plays frequently
reveal some first-class work, especially in
the villain line. and the expensive produc-
ions OF melodrama often find that they
need the talent which has gained its ex-
pcrience III the less pretentious organ
cations. Meimoth is reminder that IL
nard 10 bury strong idea. In the
Gays OF our parents or grandparents
there writer named Reynolds who
attained much notoriety through work
called Mysteries OF the Court OF Lon
DON. IL was a scandalous and unau-
to-.