Evening star. [volume] (Washington, D.C.) 1854-1972, 1910-03-20
lRRP 1ASHINGTON has Cancelled its
last vestige of claim to be
M spot habitually selected for new
wv productions. The line first

allurement. The word premiere eNerts
no spell Nothing is taken on faith. The
public OF the Capital city could not be
more determined to be shown In advance
If the District of Columbia had somehow
been annexed to Missouri
The engagement of Madame Oily was
convincing evidence to this effect. She is
an actress whose European achievements
We're such as to invite interest wherever
sine might appear. Her engagements at
the German-speaking Irving Place Thea
ter in New York have lured many party
Of fashionable people to that playhouse in
quest of real acting. Yet Washington
gave this remarkable artist but little
heed and the industrious litterateurs who
deal out stage information for the metro
politan press are perhaps justified in their
assumption that the first presentation is
to take place this week at Days Theater
in New York. Every effort is being made
TO obliterate the engagement in this city.
The piece is to be rechristened 1.-The
Whirlwind, and, SO far popular ac-
quaintance with il is concerned can con-
sistently be presented for Broadway con-
sideration an absolutely new produc-
ton.
Who would not be manager or a
musician? When a production goes on
the actors or singer occasionally gets
roasted: the author nearly always and
the composer or manager practically
never. 1t is always stated In sweet char
ity that "the scenic equipment was lib
eral' that the music was catchy"
"a theatrical management is something
Ito rl aF CT hot
3caIly regrets the necessity of sending
privates out to be shot at
The Messrs. Shubert. by placing Madame
Oily for a weeks engagement in this city
Turing the Lenten season when the Glen
tele to whom she must appeal is never
active in amusement seeking. and by pro-
rhing her for this enga cement with a
play whose like has been consistently re-
pudiated for q long time. displayed
recklessness which is of the kind which
requires great courage on the part Of
somebody else.
, The star has commanded admiration
among the few who saw her such as is
accorded but few actresses in a genera
ton. The Bernstein play is an example
of craftsmanship that must be admired
IT lacks the novel theme which animated
s'Ihe THIEF: its study of human nature
dlscloses no motive heretofore unexpected.
in The Thief the feminine love OF
adornrnent IL raised from the level of
Trivial vanity to an influence of such
hufnnn intensity as to give it almost
Tragic dignity. There is no such original
Thought In "Baccarat." or, as it has been
renamed. 1.-THE Whirlwind." On the con-
frary. interest depends on the fine inge-
nuty with which the author has handled
old materials. beginning with the man
who IL tempted to gamble with funds
not his own and ending with the married
woman who sacrifices everything for the
sake OF an Illicit attachment. The paris-
ian system which to q certain extent
rountcnances unrecognized domestic rela-
tfonships 10 not sufficiently duplicated in
ihin country TO make the subject con.
Esntaily Interesting to the average audi
rnce, The performance OF Thurlow Ber-
gen entities him to figure in the next list
or actors who will be starred as soon as
suitable play can be found"
Sir Charles Wyndham demonstrated hi,
skiii as light comedian in The Mol
iuse." play which charms with its euler
humor without revealing any extraor-
binary literary qualities or calling for ex.
eeptional art. 1t is no more than a suit
able means OF displaying without over.
taxing the artistic powers of a veteran
player whom the public holds in great es-
TEEN.
The name of W. II. Matthews, who de-
signed the costumes Of act III in "A Sky
lark, did not have the prominence to
which II was entitled on the program OF
the Columbia Theater. No such revelation
OF color effects, skillfully distributed
through great groups OF chorus people,
has been seen in many week.
The scenic equipment is liberal and the
music Is catchy.
Its effect is that OF two separate and
distinct entertainments, one in each act;
but in both the eye and the ear find
pleasant occupation. The lack OF plot
gives the production something OF the
! gay, irresponsible swing OF q college
musical frolic and permits a number OF
Very clever interpretations. The introduce
ton OF Clarice Vance as Juno, with a
ragtime song on Mount Olympus. is an
example of the care-free spirit which per
vades the gorgeous enterprise
= II has been the policy of management
az late years to protect stars far as
possible from the newspaper interviewer.
Indiscreet utterances candidly reported,
Gnd in some cases, no doubt, distortion
and even fabrication. have amply justi-
fled this course But the actor will have
hts say; II he cannot write for a maya
zine he will make an after dinner speech.
William Gillette has aroused critical re-
sentiment in Chicago by declaring himself
in favor OF commercialism in the theater
on the theory that popular demand will
develop what is best in acting and play
production. This line of reasoning has
been SO thoroughly discredited by expert
ence that il is seldom attempted in other
than whimsical spirit The fact that
sincere lovers of grand opera would have
but few opportunities Of hearing it
worthily presented, except under a sys-
tenn practically that of fashionable en-
d0wment is evidence that the theater
cannot rely upon the capricious taste of
the multitude for its highest development
Nor does the commercial standard in
spire the best efforts of author or player;
some OF the greatest plays of the present
are the box Office failures of the past.
Mr.. Gillette's own career is a contradic-
ton OF the theories which he bases
sarcastic references TO writer's who can
not accept commercialism as the best in
huence. In his early career he was surely
innbued with the ideals which most men