Evening star. [volume] (Washington, D.C.) 1854-1972, 1910-01-23

MEDIATE the big orchestra were TeStoEeo
and simple English replaced French and
Italian. THE Beauty Spots return en-
gagement revealed no new attractions
The piece was voted a capital bit of en-
tertainment on its first presentation here,
with exceptional opportunities for the de-
velopment of new figure in musical
comedy-the coored comedian Frank
Doane, who made a pronounced hit here
when the production was new, did not
secure the notice in New York that many
expected. Comment was loyal to the
natural star of the production. jeff De
Angels. and the presentation last week
found him in particularly undsputed pos
session of the center of the stage.
Every now and then an effort is made
by some burnt-cork comedian to effect an
escape from negro minstrelsy. Mr.. Doane
has unquestionably demonstrated that the
Ethiopian entertainer can have place in
productions outside the mystic semi-circle
beginning with bones and ending with
tambo. Willis Sweatnam is another and
perhaps more conspicuous example of his
trionc emancipation his work in 1.-The
County Chairman being hit on lines of
genuine character work. Many the
stories told of performers now eminent
who first appealed to the public as min
strel entertainers. but in most cases there
Is lingering suspicion that if their APP
peat had been more enthusiastically re-
ceived their escape from the black-facc
crew would not have been easily eff
fected. Lew Dockstader, whose name is
representative of today's negro minstrel
sy. once made some progress toward
white-face character work with carica-
ture of Mayor Strong of New York, but
did not find warrant for permanently
abandoning the guise in which the public
had come to know him best
Just why 1.-THE Three Twins is so
funny is one of those things, such as
Lord Dundreary was wont To discover,
that no fellow can find out. You may
ransack your vocabulary of depreciative
adjectives and hurl them i'm broadside
and the fact remains; it is funny. II il
wasn't funny why dld you sit and laugh
at the young man who lodged from one
familiar farce complication to another
and insisted on recltnS by special re-
quest: Why did you join in the repeated
demands for the recall of those "Yama
Yama' absurdIties, whose likeness to
anything else in human experience was
limited to the jumping jack of child
hoods happy hours? Cold analysis could
present dozen logical reasons for not
admiring "The Three Twins" But the
entertainment effaced all logical consid-
erations. Like the pumpkin impersonated
by Chevalier, the au0itor when asked
why he likes Tine Three Twins can
only answer Cause | do"
Il.
world at present is shown by the fact
that the seeker for legitimate acting of the
old scheoI may find its highest expression
elbow to elbow with the waltzing pony
and the trained elephant ChevaIler has
refined and methodized his work TO de-
gree that makes it almost too convincing
He portrays his characters with such
minute fnenty that the clement of per-
sonal magnetism threatens to be lost
leaving only such an appeal to interest
the character would present il en-
countered in real life. Chevaiier has not
been Industrious in gathering new sub
jects for his wonderful art. and respect
for his work doubtless moves linn to al
low pathos 10 predominant over comedy
in his selections. The only risk a player
OF his splendid delinealive skill runs is
audience and commanding sincere admit
ration at a sacrifice oi sympa thetic en-
thusiaSm.
The Servant in the House. that
strangely fascinating combination OF the
modern drama with tie o!dtime miracle
play, now bases its interest largely on
the performance OF Tyrone Power. 1t
seems impossible to command through
successive seasons cast Of uniformly
high efficiency Tor any play, however
great its initial success and how evei
numerous its opportun.tic for fine act
ing. Despite the teachings OF mutual
heIpfulness which the stage poem s.
beautifully impresses, the temptation t.
Aet the draln-man bear more than one
mans proper burden in the enterprise
has not been resls,ed.
PHILANDER JOHNSON.
GLAD RAGS-Many who see Eleanor
Robson as Glad in THE Dawn of a TO.
morrow" in which she appears at the
BeIasco Theater this week, remark what
a shame it is that the beauty of the ac-
tress should be necessarily disguised in
the torn and battered rags of the girl
OF the London slums. For Miss Robson
all vino have seen her in other roles
know. il in reality a remarkably beau
tlful- young woman, and even in the
torn garments of tie role of Glad she is
wistful and fascinating picture
What a shame she has TO stay under
that pile of OLD bags for ten minutes.
said an impressionable matinee girl last
season in New York Fancy such a
sweet thing smothering under those dirty
DID bags and being compelled to wear
such rags herself. It's a shame but
ike her Just tAe same"
Any one visiting Miss Robson's dressing
room ana obtaining a close view of the
rags OF Glad would probably be amazed
10 learn that In realty, mis- cossAme
has been most carefully prepared IN
the frSt place. II is all silk Then as
IL was impossible TO get the exact Shade
and 10 OBTAIN the exact effect of dis
eolo~lng that was desired, the services of
an expert artist We're called for the
entire dress of silk was carefully painted
by celebrated artist of New York who
treated the costume just as scenic
artist would treat piece of canvas
The stains on the front of the dress
as though Glad had spilled "A cup of hot
coffee, We're painted in by the artist.
The dab OF white on the sleeve. looking
as though she had rubbed against white
paint. was also carefully painted on The
apparent tears are not really rents at ALI
They are only painted. And IL is scarce
ly necessary to add that Miss Robson,s
apparently soiled garments are scrnnu1
just like the first. is always ready 70.
Ion nd al