Evening star. [volume] (Washington, D.C.) 1854-1972, 1909-12-05

tention of the audiences whose confidence
in Mr. klein's previous achievements in
tluced them to attend. 1t permitted a
break i'll the monotony of apologize sug-
Gestions that after rewriting the play
would have a chance of success. The
play was a success on its first presenta-
tion, although the finely drawn charac-
ters did not round out careers that
satisfied all observers. The sympathetic
wanted to see the heroine turn on her
prosecutors with fiery denuncfation and
huri into their teeth the suspicious as to
her sanity The vindictive would have
been content to see that INSCRIPTIONS at
tornev souudly trounced metaphorically
or physically instead of going out into
the world with threat on his lips. The
chances seem strong that man of his
mentality will manage somehow to get
on his feet again and make quantities OF
trouble in that supplementary act which
we all construct in imagination after
seeing a play whose characters seem like
acknowledges. The purely sentimental
would have been better pleased to see
the jolly young chap impersonated SO
well by Wallace Eddinger more of a
knight Grant on his account and
less a dependent on the resourceful af-
lection of his charming, though VIOLA
tile. mother.
But the very fact that the imagination
demands a well rounded career for each
Character proves that each character Is
endowed with human vitality. which leads
MS to measure its temperamental posi-
7rilities and the moral responsibilities
a,y the standards We apply to real life.
That man Bascom Cooley gets on ones
mind as surely as the prosecuted young
woman goes to ones heart. He is
complete specimen of his kind; strong
man who chooses to mlsapply his
strength: a man who fights with any
weapons that come to his hand, one
whose warfare knows no pity nor de-
cency. but whose courage never falters.
As played by Frank Sheridan the role
arouses antpathy, but compels interest.
He is as perfect in his villainy as RiclI
ard III.
That last act-what trial it appears to
be to all dramatists, Writing play seems
something like aviation. After conquer
ing the difficulties of getting into lofty
flight the problem of getting safely back
to earth presents itself. Even Shake
speare rule took refuge In a general
comedy and of wholesale slaughter as the
outcome of tragedy. But modern play
has different conditions to deal with. One
marriage for comedy and one death for
tragedy is about all the dramatist feels
safe in handling. The anxiety to allow
people to get away in time for the last
also tends to hasten a denouement.
Mr. Klein declares himself content If he
can make his public discuss his characters
as if they were real people. and this he
has done, beyond the shadow of doubt, in
THE Next of Kin
Mr.. Klein is Napoleonic in method as
he is of stature. He scans the social
system against which he declares war;
chooses his line of attack and displays
as much skill In filling posts of response
blity as in planning his campaign. It is
question whether there Is not as rule
more generalship than art in the career
of the successful modern playwright
The Ziegfeld show, although announcing
Anna Helds farewell tour allowed no
pangs of parting from public that has
been exceedingly kind to mar the frivo-
lous Sayety expected from star and man
ager. Miss Innocence is the most char
acteristicaly Partisan product that has
been placed on the American stage in a
long time, respondent yet tasteful and
morally irresponsible. Charles Bigelow
has the best opportunity he has yet Gu
ioyed and makes good use of the train
ing he received when he was local ia
vorite in this city a stock comedian
in light opera.
Going Some" served to remind us that
life i'm the west is not all lynching and
gun play. 1t has its lighter moods and
they were illustrated to the complete sat
isfaction of the Belasco's audiences. TNe
fun is sometimes boisterous, but il is al,
ways genuine
PHILANDER JOHNSON.
SUPERSTITION BEHIND THE FOOT
)'lGHTS--'The superstitions of theatrical
managers are a never failing source of
wonder and amusement to me-" said one
OF them in Washington last week They
do more than a public TO uphold the
fetch OF original company and prod1c-
'inf', and, when piece is success and
they nave to put out more than one COM
rany, If they can't secure replicas of the
original production they get the most ex-
act duplicates possible, regardless OF cost
Take the case OF The Climax which
plays at the Columbia Theater newt
week, he continued This is the origina,
company and production used here as
II happens: but you will find that tn.
otler SIX which Joe Weber has on tho
ROAD are exact duplicates
w men TINS play was first produced il
was lrled out as Il speculation No one
knew whether II would be success mr.
not. as the idea of only four characters
ana one set was conceded TO be a radical
departure from accepted traditions: con-
Sequently little money was expended ON
" An Old set of scenery was repainted
Tor the combination kitchen dining room,
and studio of Luigi Golfanti, and an old
set OIL dishes and furniture utilized. The
play Was success of signal nature
ana TINS season Weber organized six com
Pahies TO supply the demand from the
road.
Then came the difficulty of the seem
cry Ihere must be nothing changed as
the hrst production had been LUCKY A
search was made for the carpenter who
built the original set. After a while he
was found, and ordered to reproduce his
work. IL was old-fashioned and heavy.
bat nothing modern would do. He mnst
have set like the original FINALLY
after spending twice the money necessary.
this was accomplished.
The property man was in despair
They did not make dishes any more like
those used in the original and the f,,rni
lure was joke He was sent on a round
of secondhand stores. pawnshops and
storage warehouses, and finally satisfied
the producer at double the cost OF rnore
modern accessories, which would have
been quite as much in-keepins with the