Evening star. [volume] (Washington, D.C.) 1854-1972, 1910-10-18
ADJUSTMENTS
New National.
Yours for thrills, Arsene Lupin."

Yours for thrills, Arsene Lupin."
1t would be a fitting trade mark.
No patent medicine ever succeeded more
fully in soothing the intelligence and ex-
hiarating the nerves.
The detective story is a creation by it
self, a piece of mechanism handled with
rapid deXterity. 1t is something like leg
erdemain. The swiftness Of the plot de-
ceives the reason. Now you see the real
culprit. and now you don't see him, and
as the lamented Hermann used to re-
mark, The more YOU look. the more you
don't find out something" If the dia-
IoSue were to pause for an epigram, or
to attempt development Of character
along psychological surprise, there would
be danger of dropping clue and antici-
patlng the shock of surprise.
The writer of a detective story must
be as careful about covering his clues
as the criminal whose exploits he is
narratins. When the story goes into
play form, the concealment of identity
lis more difficult, but interest is SuS-
tanned by the demonstrations of super
human ingenuity and intrepidity of
which only detective authors and de-
tectlve actors are capable In spite OF
the fact that the auditor experiences
an inward rejoicing every time the
detective is foiled and feels himself
momentarily on the verge of hurrahing
for crime there is a frank eXtrava-
gance about the entire presentation
that permits unqualified sympathy with
the handsome hero who adopts theft
as a sport and who enjoys nothing so
much as a game of tag with the police.
William Courtenay is the handsome,
educated and altogether fascinating
crime expert; the man who derives
pleasure from the chase in being the
rabbit instead of the dog. His ad-
ventures may awaken doubts as to
whether the piece is travesty of the
detective story or burleSque OF police
methods but they are brisk and neatly
conducted.
That excellent actor Sydney Herbert
has the role of the detective whose fate
IL is to be made little ridiculous now
and then by the cleverness of the arch
thief. His role, like all the others. Is
contrived for the glorification of the
dress coated Robin Hood, who, what
ever else may be said Of him. avoids
robbing people who cannot afford the
experience, and is generous to his
friends. Mr.. Herbert meets the condi-
tions of his present situation with ar
tistic fortitude, neither seeking to en-
dow the part with sentimental heroism
nor allowing it's comedy to drift into
burlesque.
Mr. Arthur Elliots impersonation of
the pompous examining magistrate was
carefully worked out on rather broad
lines and afforded effective contrast to
the more subtle methods of the skilled
sleuth. Mr.. Charles Harbury was an
entertaining victim, whose affronted
vanity and wounded avarice found vO-
ciferous expression.
If the first three acts of the play are
dashing and breezy the fourth is cy
clonic. The nuptials of Arsene and the
girl whom poverty has tempted to
adopt his methods are stormily ap-
preached but their protestations of re-
form give hope of a calm and blissful
future, in which the police have no
part.
Arsene Lupin is the last word in de-
tective lore. a creation who is rescued
from the ridiculous from sheer force OF
sublime assurance.