Los Angeles herald., 1908-10-24
THE CAST

|
| Hickman ............... John V. DALEY
Halle ..................... .AnOtinette Rerry
Letitia ........-...''.-'.'.. Mafie , i".es ,..
Mrs. BestOr ..............Is Isabel MaIdron
! Aida Bestor ...........Ve .Veda McEfvers
Mrs HILBERT .............. Ruth Gates
by siDLE LAWRENCE
" AVING endeared himself to Los
III Angeles audiences in the gulse
IL of a German music master,
, David Warfleld, last night triumph
antly asserted his Amerlcanlsm in the
portayal of Wes Bigelow, commander
of an Indiana G.. A. r. post, In The
Grand Army Man." play OF native
subject matter and authorship.
Mr. Warfleld himself has been quoted
| as saving that "a Grand Army Man
is a better and stronger play than
"The Music Master; and there can
be no quarrel with that opinion. fet
1t is not always the strong play that
| makes the strongest appear anu 1
doubt whether Mr. Warnelu .,,s ~9n
Bigelow will linger as pleasantly IN
the memory as his earlier character,
though it is none the less an achleVe-
| ment in complete understanding anu
sympathetic acting.
"A Grand Army Man" is not star
play in the sense that the term may
| he applied to Mr.. Klein's work. AT
times "The Music Master is little
more than a skillful monologue: "A
Grand Army Man" never descends 10
| that level. It's story Is. presented
through a series of closely connected
| incidents in which, not 1n1requehtIy,
Wes' Bigelow is merely an incidental
ag,,re And for all Of this Mr.. War
| field deserves credit. Few stars OF
| todav voluntarily relinquish the stage
at the final curtain Mr. Warnelu oiu
that last night and he made no AZ
tempt to take the attention OF the audi
ence with him.
A Model of Simplicity
The play is a model OF simphGIty
and an illustration of its power. Inc
theme is paternal love Tor an aoopte1
son, triumphant even in the race OF
Youthful thoughtlessness which the
law calls criminal. The characters are
simple, homely folk, depicted in thelr
home environment. The story lnVoiVes
misstep on the part OIL BlgeloW
adopted son, who, not approaching ms
fault, loses through speculation $loo0.4I
of G.. A. r.. money entrusted 10 ms
keeping. his subsequent sentence to the
penitentiary, his pardon and return TO
his home. There is nothing unusual
in the plot nor in its development. IL
is a pitiful little story, presented with
pitiiess accuracy; and, in the presenl
Instance enacted with ample artistry.
exquisite. 1 should imagine that
spectator, unfortunately deaf, might
easily paraphrase many of Wes' B1ge-
lows speeches merely by putting into
| words what he had seen expressed by
the actors art. There is natural
quality to it all, sympathy power
fully expressed, an appeal which should
be potent anywhere in the civilized
world, among persons of understand
ing, no matter what their language or |
race.
His Big Scenes
Mr.. Warfield's first big scene does
not arrive until the close of the second |
act. Here reluctantly and, at the last,
with an agonizing appreciation of what
he hears, he listens to the confession
that makes his son thief. Then
there is a brief space of physical re-
sentiment. Wes' commands the boy to
bring him a whip. The order is obeyed
and the old man strikes him blow
that brings gasp from the audience.
The next instant, his rage subdued by
a flood of affection, he takes the youth
In his arms and sobs paternal for
giveness.
Again in the third act his appeal in
the court room Is accomplished with
tremendous effect. Elsewhere there
are scenes in lighter vein, handled with
a delicacy and with fine comedy
touch that bespeaks the artist. Such Is
his "pumping" of Halle; and his quar-
rel and reconciliation with Letitia.
William Elliott as Robert plays with
distinguished success role that offers
abundant opportunities for theatrical-
ism, all of which he skillfully dfsre-
CARDS Marie Bates gives lovable
and finely humorous Interpretation of
Letitia. Antoinette Perry repeats in
Halle the good work she did in THE
Music Master" If Miss Perry had
done nothing last night beyond her ad-
mirable listening in the court room
scene she still would deserve high
praise. Oscar Eagle, as the judge;
TAYLOR Holmes, as the prosecuting at
torney, and the others of the company
contributed in large measure to the
general excellence of the presentation.
"a Grand Army Man" will be repeat
ed at a matinee performance today and
tonight, which concludes Mr.. Warnelos
local engagement.
An audience which filled the theater
from parquet to the topmost gaiiery
assembled in the Auditorium yester-
day afternoon to enjoy the L. M. A.
vaudeville benefit and applauded with
out stint every number upon pro-
gram which continued from 1 O'Clock
until almost 6. The bill was one of
the most extensive and certainly one
of the best, both in point of merit and
ever offered in Los Angeles theater
A unique feature was provided by the
appearance of Al. Treloar, announced
as the perfect man." and Charmion,
billed as the perfect woman"
The Lewis S. Stone company pre-
sented the second act of Leah Klesch-
ma. Dorothy Bernard, Beatrice Noyes
and Charles Ruggles of the Belasco
and Stone companies contributed a
novel little sketch, in which the players
impersonated themselves. The dia-
logue was largely of local interest,
which gave an added spice to the Of
fering.
The Burbank theater was represented
by Gerald Harcourt, Margo buffet,
Charles Giblyn and Willis Marks, who
presented. for the first time on any
stage, a melodrama playlet, "The
Caballero's Way"
Others on the program were: Miss
Pearl Dillon, soprano soloist: Millar
Bacon and Olga Stech, operate duet
lists; Sam Holdsworth, ballad singer;
Fay Banter, singing coincidence; War
wick, handcuff king; Sheck and Aldro,
hand balancing acrobats; Louis p.
Verande and August Aramini, Italian
singers: Marquis Ellis quartet; Harry
Wardell, parodist; j. Edward Pierce
and Marie Roslyn, singers, assisted
by the Fischer chorus; Ben Dillon.
monologuist; the Two Pucks; Taylor
Holmes, monologuist; Harry Cakes,
Clifford r. Ronald and T. III. Wright's