Evening star. [volume] (Washington, D.C.) 1854-1972, 1910-03-15
ADJUSTMENTS.
Belasco.

The impression made by Nine Oily last
night was such that the Importance OF an
engagement Of this new luminary in the
theatric armament is not likely to be again
underestimated The attitude of the audi
cnce was at first that Of mild curiosity
as to the player and a certain confidence
in the play. owing to it's authorship. Had
Bernstein written. nothing but Ihe
THIEF he would command attention for
whatever he might choose to offer. Be
fore the first act was over the situation
was reversed. The acting was the frst
consideration and the play of consequence
chiefly as 1t might present scenes calling
forth the resources of the star and her
very exceptional leading man, Mr.. Thur
low Bergen, and other members of an
unusual cast. The drama, though con-
s.ructed with great ingenuity, announces
Itself SO uncompromisingly early IN Ine
action as problem play Of the con-
v.ntional type-a study of the eternal
triangle of two men and a woman or two
women and a man-that, however much
ii might be admired for artistic develop
ment of familiar material, it held out
peal.
The presentation Of the play, too with
Nine. Oily as it's star caused distortion
of interest. The gambler whose person
atty is suggested by the title is nor
mally the commanding figure in the plot.
1t is only by very palpable device IN
the last act which logically closes with
the gamblers suicide that the principal
feminine role is restored to the stellar
consequence 1t has attained through sheer
force of acting. The return Of the woman
who loves him to beat furiOusly at MS
door while he sends a bullet through his
heart fs impressive, but 1t throws into
doubt the very question upon which the
play has been built-Whether or not the
fearful sacrifices made to save family
pride and domestic honor have awaited.
There are one or two sentences In the
dialogue whose rather crude form inter
rupts the smoothness of the translation
To describe the dramatic powers of
player like Nine. Oily is like an effort
to depict in language some great force of
nature. Her emotionalism is not mat
ter of art or intellectually, but tre-
mendous manifestation which sweeps at
tention into sympathetic accord without
time for scrutiny or comparison. With
all the articles of stagecraft at instant
and complete command she makes them
the instruments and not the OBJECTS OF
study The role she portrays, whether
worthy or not, as judged by moral stand
ards. will have an irresistible appeal as
pity takes the place of discrimination
This Bernstein work is play for Pa
risians rather than for Americans. 1t
accepts as it's premise a domestic situa-
ton which of ITSELF to nation still stall
wart in certain Anglo-Saxon traditions
of the home. would suffice for a tragedy
and a elimination. While the emotional
interest in the situations is wrought to
the highest intensity, the motives cannot
be fully idealized.
Mr. Bergen's position in the cast is of
great prominence and his playing last
night was of quality to claim for him
such approval as is customarily reserved
only for stars. Another player of fine
discretion is Albert Gran, whose vein
of comedy in the first act, though strong.
was wholly subordinate to his serious
scenes later in the play.