Evening star. [volume] (Washington, D.C.) 1854-1972, 1910-02-27

the cOnventlonailty oil meio-
drama. If it's thrills are familiar they are
stnl thrills Ii is evenings entertain
rnent which does not very robustly sur
vfve tho analysis of the afterthought-
The play was originally written for Nat
&. Goodwin. who did not find it con-
genial vehicle. 1t seems as difficult TO III
Goodwin with play as If he were a
nedgIIng instead of veteran. lie seems
to insist on playing heroes OF Inc soclai
outlaw type in spite of the weird expert
ence with his Wolfville drama He mas
been one OF the most versatile OF actors
accomplished in mimicry TO an extern,
1hat Cisejc LOTUS might envy. bolster
ouely ludicrOus in burlesque. pleasing III
refined comedy and by TO means as bad
q Shylack as some OF the reviewers
would nave had their readers believe. In
50 Md = range OF versauiity each SD
l.. arprars to present difficulties n de
cG,ns. so 10 speak, upon pohcS 'oi
aim Negotiations have even been con-
sidcred for his restoration to burleslue IN
,n, 81 ZttgfeId's annual reviews
II was. polished production of the
,5..s mai wa seen in Washington last
week. III. Dustin Farnum makes the
l55,.t,to1 .. The Nirsinian and Beau
I,f,.rntl He i perhaps TIME 700
DANNY H. suggest the seasoned cara eA-
at d,ft lis chivalrouS quietuue OF man-
ler AM his romantic resonance OF voice
mike nm, nevertheless. a most attrac-
,,ye SiIrl book nero. The remarkable
cas- introduced some character types
-q4i we're or themselves sufficient 10
,..tr.;,tld interest apart from IN" plot
v.refplay. with ALI its swinging, siashing
yftabtv. does not round out the interest,"
!. eatIIes 10 a satisfactory conclusion
Tue child who declares himself the out
Avs truSiN friend is never permitted
10 displsy 7hat Friendship IN amy effective
rranrsr. the hot-headed young man
whose reverence of his fathers memory
.makes him for a moment a thoroughly
-, nipatnrsic figure IS made 10 descend
10 n trick Girty taat even the third
saSsistaut villain III the cheapest sort of
s,neloerama would shrink from It; ne
.girl who las persuaded man 10 risk
chs Efc for the privilege of escorting her
Ito dinner loses her faith ID courage al
tthe end ~ the play. when The man has
.shown himself most worthy OF her, and
sends ajm forth To- reform himself with
,th. promise that il he makes q satisfac-
tory showing at the end of a year or so
'she vii lac his. After picturesque
.pre1uenade dowa the very highway of
,o!tl-fashioued romantic drama :he play
,'7rfges into 4 tnicket II order to avoid
sthc threat of conventional ending 1t
has been so much the fashion TO leave
'1he conclusion of a play more or less to
,tha imagination of the spectator that
,,he so-carled unconventional erding has
its central character. the play exerts. in
'spite of defects an irresistible fascina-
,t.on.
he Wof Hopper is evidently the
verge OF seriousness. He is in danger o.
taking life. If not himself almost a
really and earnestly as Wi'yum Collier.
The discovery that he could recite Marc
i Anthorys Grafton a. well as Casey al
the Bat possibly suggested tie introduc
ton OF Shakespecrean quotations into
his musical play The Matinee Idol"
After playing parts from Dickens and
shakespeare ne proceeds in the present
instance - an aGaption from Moliere.
the result being a story, Whica. deprived
q. tHe original French spright' mess of
expression. Is thread ARE without being
classic The production of musical com
coy is distinctly a modern art. To
echo an expression Of the street, We
loNe ou~ MoIiere, but. oh. YOU Harry E.
smith"
John Drew play "Inconstaut George
is q trivial affair not calculated To dis
play that agreeable actors most valued
qualities It is a French farce clunsiIv
CONSTRUCTED. % that the situation in
" ich 2 husband humors the attentions o.
lis vifes sutor, instead OF being whirn-
s5ca}y improper, becomes crIdeiy prepos-
ter,4s- Mr.. Drew. as the public has
known Alm these many years. has al
WAYS been gentleman: as polished and
i-ish-nrded 4 parsonage or the stage a
lie DOUBTLESS : in private lie. In this
play 80 : = cad AID a bounder. and the
role IS shock - the sensibilities 1t is
Almost as bad as the pillar o society who
turns out TO be absconder
The academy r Music after week of
standard drama. in which Thomas r
Shea proved that the old-time style of
play has its attractions. devoted its stage
To- literary sensation OF recent times.
The title. Three Weeks" brought car
riages 10 the door o. the theater and
filled the proscenium boxes as we'll as the
auditorium The title was the most i'm
portant survival of the novel Three
Weeks in the dramatizatiOn and many
Who went in the hope OF being shoe led
were compelled 10 accept the performance
On Is merits as play and a production
PHILANDER JOHNSON.
STAGE CAREER BEGAN AT FOUR
joe CaUihorn, the German comedian
says lie has been on the stage for thirty
eight years He is forty-one years o.
ace now, which would bring Ills Initial
appearance back TO his babyhood The
fact of the matter is that tie eally did
impeTsOnate a babe in tie arms and was
carried on and off. but there is no record
that hs gave the rather small role any
individuality. When he was four years
sof age lie the end man OF the Pick
oaninnies Ministries at Robinson Hall
on 10th street. New York city.
Cawthorn's first work as German
comedian was done in 1873 when he was
known the pocket edition of Gus
Williams" Later he joined his
brother. Herbert Cawthorn. and for two
years they were engaged by Joe Morti-
mer al 10th and Cailowhill streets, Phia-
delphia.
In 1919 Jack Haverly heard OF the
Cawthorns and engaged Herbert and Joe
for Haverlys Original Mastodons They
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