Evening star., 1909-01-31


and rejoiced with them when the story
of the prodigal son came to It's happy
conclusion. There's no denying it, the
people on this continent are strong OF
home and ffreside. We have not pro-
gressed so far in history as to wholly
forget the struggles which ancestral
homeseekers underwent in order to en-
joy freedom of action and thought; and
If they in turn became more or less ln-
tolerant il was not through vain and op-
pressive ambition but because of certain
restricted ideas of what constituted the
best conditions for the development OF
ideal family life. This simple drama,
unaffected in its character and perpetual
in it's charm. points to national tralt.
We may grow rackety and rambunctious
in journeyings abroad, but every tourist
will tell YOU that a glimpse of the United
States flag warns the heart and subdues
the enthusiasm for unfamiliar things.
The song writers understand this and
make confident appeals to sentiment by
writing about some state or river. 1t
NAV not be the listeners own state or
river, but it is "a song of somebody's
home and he lends sympathetic ear.
III has been said that we have no national
song. 1t is true we have no song of mar
tial inspiration worthy of note. We stand
up in an attitude of respect when a band
plays the lusty old drinking chorus To
which the verses about the Star Spangled
Banner We're written, but it is more or
less perfunctory courtesy inspired by
little in the way of sentiment associ-
alton. The song that rings true wherever
it is heard, the national song by uncon-
scious popular choice. is after all the un-
pretentiouS ballad by the scantily remem-
bered poet whose grave is nearby in Oak
Hill cemetery-"Home. Sweet Home"
The hearty welcome the public always
has for plays which conscientiously and
efficiently represent the plain. straightfor-
ward side of human nature is assurance
enough that there is not much danger of
damage from the realistic or problematlc
drama.
The Return of Eve, in which Bertha
Galland has been appearing. proved to be
a good play for one act. Even the second
act though inferior, might have been
received in patience had ii not been for
the last act. That last act is the crucial
test of playwright's skill. Unfortunately
Il Is mathematical necessity and can
not be abolished. THE Return of Eve
presented more different kinds of play than
were ever before seen in a Single even
ings entertainment. In its present form
il Is impossible: it's Washington en-
gagement was another OF the preliminary
representations which give only a hint
OF future possibilities Rewritten, 1t may
develop the consistency it now lacks and
become agreeable entertainment for
1t has pretty idea its basis and some
exceedingly good writing in its dialogue.
AS it was. it required all of Miss Gal
lands efforts to prevent it from being
uncompromisingl dull.
The Red Mill'' goes grinding out
laughs and money. 1t is one of the musi-
cal plays which contain nothing to offend
and much TO amuse. Montgomery and
Stone are two very fortunate entertainers
whose agile heels have conducted them to
a success which far more Studious heads
might envy. But il is a success won
without prurent appeal by meeting fun
loving public frankly on its own terms
One OF the most remarka BILE perform
ances OF the week was that of a young
man named Vivian i'm the afternoon per-
formances of "A Midsummer Nights
Dream" No better representation of the
character of Puck could be ina gined In
addition 10 having the lightness of the
acrobat and the grace OF a dancer he
possesses a true sense of comedy and his
chuckle, as he played with mortal follies
was the essence of elfin impudence.
PHILANDER JOHNSON.
HISTORIC SONGS-A fact perhaps not
generally known is that Benjamin Frank
lin was instrument In giving to the
French people their most famous and
first song used so consistently through
out the French revolution. Franklin rep
resented the United States at the court
of King Louis OF France during our own
revolution, when America seeking aid
from the French sovereign. When he
was importuned for Information about
low the American revolution was prog
ressing IL was his custom TO reply Ca
ira. which is equivalent TO saying oh
it's getting along This phrase. which
Franklin used only. Of course when
pressed by people with whom ne did not
care to discuss matters in detail, became
famous, and as bYWOrd OF the success
iul American revolution against English
rule was picked up by the French song
writer and adapted To suit very different
circumstances. Ca Ira" fit com
rade TO the 'Marseillaise" in its effect
ON the french pODulace OF the period.
The "CarmagnOle.' the furious reVoIr!-
tlonary dance OF the French. was equally
innocent in its beginning. The Car
Inagnole' was taken from the chorus of
an opera which happened TO be popular at
The time the French revolution broke out
Miss Marlowe. who has devoted all of her
lime since spring to the securing of
proper material for her new vehicle
THE Goddess OF Reason" +" impressed upon
the mana cement the necessity of the
proper rendering of these Two numbers
with the result that company OF French
singers and dancers form part of Miss
Marlowe's supporting cast.
\ WELL. KNOWN COTERIE.-A num-
Der of seasons ago Chases enjoyed a
summer seasons revival of the IIoyt
comedies. with Mary Marble. Otis Har-
Ian, Little Chip. John w Dunno. Ger
irude Hoffman. Max Hoffman in the
casts. IL was a great little organization
and time. since then, has brought his own
TO each of them in the way Of "a higher
perch the ladder Of fame. OF course,
they did not come here unknown. Mr..
Harlan one of the original Hoyt
coterie OF comedians and several comedies
had been written especially for him Dy
the lamented Charlie Hoyt. Miss Marble,
too. had made some impress upon the
SANDS of time in seasons previous. She
supported Eddie Foy in his first starring
vehicle ''Of the Earth now many years
back il is not we'll to RENE nlber- then Sh,.