Evening star. [volume] (Washington, D.C.) 1854-1972, 1910-02-20

Since The Merry Wild
ow" with its rhythmic
PAGES took the world by
storm. the dance has dominated the the
atric stage The world seems to feel a
restless tinsle like a man whose foot has
been asleep, and who is constrained to exc
cute strange hoppings in hope of relief.
Dancing as an art, exernplified so cxquis-
itely by Genee, is an institution apart
from dancing as a method of emotional
EXPRESSION. In the first case high de-
velopment of physical facility is essential.
combined with agility as we'll as grace. In
the second. the attributes of physical
skill are subordinate to the ideas which
the dancer assumes to convey. In many
instances the dance. in its extreme devel-
opment, is but a series of posturings In
costumes or draperies. Its chief purpose
is to represent the dances Of people remote
from our own civilization and is, so far
as it carries out its studious intentions,
entitled to scientific respect.
1t must be admitted, however. that the
audiences who patronize dancing natl
nees do not look especially scientific. The
sedate parsonage who would discern and
appreciate the chronological and archeo-
logical researches bestowed upon the
work is not much in evidence. 1t is rather
the quest Of novelty and sensation that Is
represented, and in some instances there
is possibly the timorous yet poignant fas-
cination of suspense when propriety con-
templates the enormous responsibilities
that are resting with a seam or even a
stitch.
Loie Fuller was content to make the
dance a means Of spectacular surprise:
an appeal to the eye apart from very
serious scholarly intentions. She utilized
poetic suggestion, but In fanciful spirit,
without assuming responsibility for &C
curate Interpretation. Others. endeavor-
ing to extend the scope Of the dance.
went back to Its original forms with re-
suits which required the utmost respect
for the performers intellectual purpose to
prevent resentment of the visual impress
sion. To the art student demonstra-
ton Of the dancing OF the early Greeks
or Romans, even by a student scantily
equipped. to convey the picture in ease
of movement or grace OF outline would
be interesting and beneficial. But the
audience that observes the performance
merely for the sake OF It's immediate i'm
preston can expect little beyond a sense
Of vague mystiflcation.
In no case is q complete and abso-
lutely sincere reproduction Of the subject
undertaken. The services, for instance.
of a modern orchestra are called In to
lend the appeal of standard musical COM
positions. To the music lover the re-
straint in phrasing and tempo imposed
by the dancer Is often scantily compen-
stated by the effect conveyed to tho eye.
Settings to show the environment and
illustrate the occasion Of the dances are
in most cases not attempted Costumes
copied from mural decorations alone tes-
tify to the serious. investigations sup
posed to underlie and animate represen-
tation. 1t might be answered that minute
details are not readily accessible. II ac-
cessSble at all. This would bring up the
question Of whether the classic dance is
SO essential to the public welfare or en-
lightenment that 1t must be Forthcoming
even in a crude form.
This necessity will not be unanimously
conceded to exist. The ancient dances
as we have had them attempted reflect
moods and festivals which would be rep.
rehended at the present time. It Is the
right and duty of scholarship to investi.
gate them, but this right IL far from i'm.
plying the privilege Of indiscriminat.
counterfeit 1t would be just as praise.
worthy and important to fake cuneiforu
inscriptions.
Miss Ruth ST. Denis is the latest Of the
specialized dancers to visit this city He,
performance has the merits Of picturesou.
eiabo- alton and poetic atmosphere. Hind,
mythology is her chosen theme Miss st
Denis has made explorations In India al
though her proofs have never been sub
mitted to the University Of Copenhagen.
The dramatic entertainments Offered
last week were chiefly repetil.ons "Th.
Barrier" has lost none of its powerful an.
peal. The run in New York enjoyed by
THE Easiest Way did not serve &c
wholly overcome the comparative indiffer
ence which this city usually manfests to.
ward plays Of the under world.
Richard earle In .Mary.s Lamb" real.
ICES a mistaken ambition. He is the
whole show. Irresistible as are his quips
and dances there is feeling that his eff
forts are worthier OF better setting an1
going to ally himself in a manner that
will not leave him entirely and solely re-
sponsible in the work Of entertaining.
PHILANDER JOHNSON.
JOHN DREW.-John Drew has had di.
versiied career. He comes of one Of the
most famous theatrical families OF the
nineteenth century. His mother, Mrs
John Drew, long the proprietor and man.
aSer OF the Arch Street Theater, in Phila.
delphia, was regarded one of the clever
est American condolences for more than
forty years, and his father. John
Drew. ST.. who died at the age
of thirty-four. had established him.
self as tremendously popular Irish
comedian long before his demise Mr.
Drew s father was Irish. His mother was
English.
Mr.. Drew made his first appearance on
the stage in his mothers theater. in
lsi::, assuming minor role in a popular
farce called Cool as a Cucumber" After
appearing in round OF character bits
and juvenile roles he was engaged by
Augustin DAILY. and appeared with that
manager for several seasons BEGINNING
IN 1915. During that time he also played
Shakespearean and other classical roles In
the support of Edwin Booth
In 1880. when Mr.. DAILY established his
famous stock company, at the present
Days Theater. in New York Mr. Drew
became the leading man Of the orRani.
zation, position which he held for
twelve consecutive seasons. During those
years he played more than Atty roles
including Petruchio in The Tanning OF