Evening star. [volume] (Washington, D.C.) 1854-1972, 1910-11-20

1HE man who used to contend
that the church and the stage
could have nothing In common
is buried somewhere under the
landslide.
The avalanche of uplift dramas Is well
under way. The beginning was slow, ana
the end is not yet, and the new soil prom
Ises TO cover much that was harsh ana
unsightiy. Audiences no longer insist on
being frivolously amused or highly
shocked. 1t is no longer considered I'm
practical to preach from the stage. pro-
vided you are good preacher and under
stand your congregation. Close as are
the limitations of the stage. no idea that
Is really striking can elude the crafts
manship of the skilled dramatist. 1t may
be very old idea; one that has been
worn threadbare in the course of rephras-
ing and translation from antiquity But
II IT is a sound thought, with human en-
.rgy behind 1t, your playwright can make
you a drama. all the better because 1t is
sermon The plot of "The Passing Of
the Third Floor Back is expressed in the
simple remark which has been so much
In evidence without its dramatic posi-
bilities being suspected. BE good and
sou will be happy In all this ransack-
ing of libraries for suggestions, the in
spiration of one of the greatest of plays
IS found in the plain old-fashioned copy
oook of our forefathers. 1t Is not the idea
Of play but the manner of its treatment
that marks it for an object of public in
terest A play founded on mere maxim
of kindness could scarcely have sue
ceeded with other language than that en-
ployed by Mr.. Jerome and with other Wis
ible Interpretation than that. offered by
Mr. Forbes-Robertson and his exceptional
company.
Comparison of this play with THE
Servant in the House" was inevitable and
was freely made. The Kennedy play is
10y far the more heroic. II works with
principles and ideals more than with the
everyday manifestations OF human
frailty. 1t deals with big things. Us
allegory is not expressed IN a sing.e char
acter. but makes every role typical of
some social force for good o. bad, as
well as giving ii the fascination Of indi-
vidual interest. The least 6ign.fed OF all
the parts in the cast is n many respects
the most impressive-the drainman de-
-pised for his calling and fearful Of per-
,onality finds himself when fulfilling his
simple duty idealized into spiritual mag
lificence. The Forbes Robertson pay is no 1
such ringing call TO duty, but a pea gen.
tie but irresistible for the express sion of
The good feeling that men have for one
another instinctvely and which fails of
expression only because o. the artificial
restraints of custom and prejudice
x
The newer play does not carry out any
extensive scheme of symbolism. Its one
personihcation moves dignined and aloof
through the scene. This personification
YOU may regard as the expression Of d.
vine influence or of the good that is nat
Irally In us. according TO your own scheme
Of theology or philosophy. The repre-
sentation suggests much, yet commits it
self to no positive assertion. The glow of
light in which the slavey stands as the
stranger departs through the open door.
at the end Of the play, may be an efful-.
gence of spiritual glory. or it may depict |
the warmth and radiance which have
sprung up in the girls own nature, or it |
nay be only the shine of tire sun Flooding !
mis- way through the morning sky But |
take ii as you will. it is fine and inspir- /,
ing.
In pointing to the Stranger as the one
personifcation, il should not be said |
hat the other roles are without sugges- !
ion beyond their service as figures in the |
plot They typity all of US: the audience |
and the people in the streets and houses |
outside The petty weaknesses which |
cad US to disguise our better selves in |
The hope of avoiding the cheap and COM |
menplace, and which render US so sadly
alike while the masquerade Is on, are !
represented by the supporting company. !
No big griefs of heart soul or mind. no
scstasies of hope nor anguish OF despair !
are told of by the moraiist. This time |
ne is after the exasperat,ns pebble In tho |
shoe that sets US ltmping on the road of
human progress.
But the cynic will have his fling some
times he is really a good-natItrad old dog |
Who growis because that is the nearest he I
ran come to a song. And sometimes he Is |
iozingiy content with things az they are
and refuses to sec beyond himself. One
member of an audience was heard to saw: |
Il think the play would be better II |
Forbes-Robcrtson made love to- some |
Body"
Another:
Il don't think that lady looked nearly |;
As we'll after she took of her rouge
Another: e.
If ever visit London IN he sure to
30 to hotel and avoid boarding houses
And for climax. tro men almost came
to blows In an argument as To whether
The Servant in the House" or The
Passing of the Third Floor Back" is the
more potent in its moral uplift
The new play MY Man affords a /
chance for some good acting. notably
that Of Lillian kinssbury. The perform
ance brings what might have been
fairly interesting story to a conclusion so
abrupt that It seems as IL the actors had
decided, regardless OF plot, that It was
time to shut up the theate- and go home.
The pains evidently taken IN evolving the
story UP to the denouement make IL hard
10 believe that the closing scene reflects
the authors intention. II celebrates the
criminal. as the stage is now fam 70 do.
but Is not adroit In bringing his redeem
ing qualities into preponterant impor-
lance. 1t Is one Of several instances in
which the initiation has yoo>h.S w. IL,