The Washington herald. [volume] (Washington, D.C.) 1906-1939, 1910-03-20

There IS a continual disposition on Nne
part of American writer's to make. with
palpable humorous intent, illusions to
the abtuseness of English comedy, espe-
cialy by that coterie of critics whose
reputation comes from a propensity TO
side-step the real point at Issue by dis
cussion so vague as TO leave doubt In the
mind OF the reader as TO the merits or
dement's of the play and yet sustain
their OwR reputation fine writer's
by saying smart" things about some IN
important details or by covert allusion
to some traditional but erroneous ideas
connected with the general subject.
Irrespective OF the caliber of the writer's
who indulge In this thing, there is no
foundation. in fact, for such a notion.
A middlng familiarity with the subject
and a little reflection should prompt them
10 the knowledge that a large majority
OF the best comedies that have ever
graced the stage have come from the
pens of Englishmen Leaving the Shakes
pearean plays even out Of the equation,
"A New Way to Pay Old Debts" The
School for Scandal THE Rivals and
the more modern efforts OF George Bern
ard Shaw are enough 20 establish the
falsity Of such notion. Some wag. years
ago, introduced the idea of an English
mans dizziness in apprehending the point
OF the American broad joke, and the idea
has got to be applied to him as regards
all forms Of humor.
The truth Is that the high-elass English
comedies almost all depend on satire for
effect. and this is the highest form of
comedy, from the intellectual and literary
standpoint. The mirror is held up to
nature" by touching upon the vagaries.
eccentricities. and foolishness Of human
nature in play wherein human eharac-
tiers and human incidents are depicted,
and from these drawing a lesson. The
Mollusc" is a fairly good example of this
kind Of comedy, and when vivified by a
company of finished actors, such a play
cannot fail to be interesting
For the purposes of comparison the
plays of the past week were interesting.
No two plays Of more widely differing
genre than ''Baccarat' and The Mol
lusc" are imaginable. "Baccarat" was
obviously a play. The Mollusc" might
have been a page out OF real life. The
former was an evidence OF the dramatist's
taste for situations effects, and emotional
intensity; the latter an easy-going, witty,
and unstudied satire In one, emotions
were aggressive, in the other they were
passive.
Since no one is called upon to choose
between a heavy emotional drama, and a
modern comedy of manners, there is no
harm in offering the comparison to show
what a wide field of endeavor the art
Of playwriting presents. Mr. Bern
stein would no doubt regard ''The Mol
iuse" as trivial and lacking in dramatic
effect. devoid of climaxes and destined
10 be forgotten within ten minutes after
the final curtain. To Mr.. Davies, perhaps
''Baccarat" or The Whirlwind" as they
are to call it for New York presentation,
would appear to BE the height Of literary
emotionalism.
Neither one of these plays did good
business. In spite of Sir Charles Wynd-
hams delightful personality and graceful
art, THE Mollusc" is too finely satirical
to be aught but "cavier" to the general |
Comedy such as THE Gentleman from
Mississippi with its strong lights and
American taste. ''Baccarat," on the
other hand, was avoided for a totally !
different reason. It left a most unpIeas- |
ant flavor behind tia sense of the IN
necessary narrowing of the feelings. |
This Is not because people do not like to !
have their feelings narrowed, but be- /
cause they like them mended afterward /
The whole theatrical world is just now |
occupied in swelling the Actors Fund. |
Benefits are being held In ali the prin-
clpaI cities. and wherever their fortunes !
may place them for the moment the /
members of the profession are coming /
handsomely to the fore and giving their |
talents for this worthy charity The |
climax OF the movement will be the Ac- /
tors Fund fair. to be held in New York /
In May, and the total proceeds of the |
spring campaign Is hoped to be sufficient |
10 establish a permanent benefit for the |
relief OF the members Of the profession /
as they gradually fall away from the /
sphere Of usefulness on the stage.
Actors are the most charitable people. |
as class. on the face OF the earth. /
They VIII share the last penny with a /
friend or an associate who is down and |
out" Their art is evanescent. and when |
they are gone they are soon forgotten. |
but while they are able they help to /
make life worth living.
The Washington benefit. held on Tues /
day. did not prove so financially success
ful as was anticipated, but artistically /
It could not have been better. Every /
performer who volunteered was present, /
and there was not single disappoint- /
ment They were very cordially received. |
Nine. olly's appearance at the benefit |
amounted to almost an ovation, FIVE cur
tain calls being given her after the scene |
from 'Baccarat" between her and Mr.. /
Gran. This actress had the privilege !
for the first time of appearing for char /
ity in this country. and had no reason /
to complain of her reception.
Another foreign star who appeared was |
Sir Charles Wyndham. who gave a most /
delightful talk. Those who came over /
from Baltimore included Miss Friganza,
who had been here the week previous,
and Miss Anglin, who was on her way /
here for the engagement Of the coming /
week.
Many Washington people intend going
TO New York when the Actors Fund /
fair is on. They could not give their
support to a worthier cause.
"A skylark' ought TO prove a win
ner, after 1t has undergone the necessary
pruning process II was a brilliant pro-
duction scenically, and the costumes new
and handsome. The comedy did not de-
scend to horse-play, and there was quite
a vein OF satire Henry B. Harris has i