Los Angeles herald. [microfilm reel] (Los Angeles [Calif.]) 1900-1911, 1910-01-24
kkTTI HE AMERICAN LORD" a
modern comedy by George H.

E6T1 HE AMERICAN LORD"
modern comedy by George H.
u Broadhurst and Charles L.
Darcy, served as Charles B. Hanford's
vehicle last night on the opening of
his annual engagement at the Majestic
theater. 1t is a light-hearted, if not
very substantial, satire on the con-
trasting ways of Briton and American,
with abundant humor and several
semi-farcical situations that are as
amusing as they are impossible. At a
hazard, l should say that the charac-
terization is largely Broadhurst, and
the sometimes wearisome dialogue
Darcy. A memory of I'm Old Ken
lucky" and a not too flattering con-
trast with 1.-THE Man of the Hour and
the earlier Broadhurst farces confirm
this theory.
AS a means of giving Mr.. Hanford a
pleasant rest from years of devoted
Shakespearean impersonation and of
exploiting the charming abilities of
Miss Marie Drofnah, the international
comedy does very well. The story is
that of a Dakota politician who is
forced to journey to England to as
sumo a fordship of which he Jolly
well' disapproves but in theory and
practice. Arrived on his ancestral es-
old law feuds with belligerent neigh
Dor and preventing his two children
from marrying into his opponents
lordly family. The arrival on the scene
of several good but Vociferous Ameri-
cans from Dakota to greet their old
political chief causes a grotesque
scene near the dividing line between
the estates. The splenetic old Briton is
pompously affronted at supposed in
suit and in his wrath utters bombas-
tic denunciation of America and Amer
leans, which goads his antagonist into
active warfare.
At this point the love affairs of the
four children complicate matters and
then eventually adjust them. A meek
young curate obtains a living through
the dubious generosity of the Amer1-
can lord, who all the time mistakenly
thinks him a rival for the love of the
Irish widow for whose hand he has
himself prosecuted a too leisurely suit.
This woman, whose brogue becomes a
thing to conjure with in the imperson-
alton of Miss Drofnah, connives at an
elopement of one of the couples. The
American lord discovers it and, pre-
tending to oppose. really assists the
flight of the young people. A similar
amiable self-deception ties the other
knot, and at length the American,
wearying of feuds, ancient and mod
ern, betakes himself again to America,
with the bride of his choice His mem
DRY, one imagines, will linger long in
Sussex fields and lanes as that of an
amazing revolutionist who nearly sue
ceeded.
Mr. Hanford acts heartily and well
in the principal role. Among the sup
porting company John J. Burke plays
the British lord acceptably and A. H.
Cooper Prichard persontaes mild and
overmannerly curate after the best
Gilbertian tradition. John e. Mac
Gregor does the best character work III
the cast as the Scotch manager for
the American lord. Miss Drofnah's act
ing is altogether pleasant OF the rest
of the cast few words of eXtravagant
praise can honestly be said. They APP
pear to do the best they can, but in
one or two instances one feels that
diverting play is handicapped by very
commonplace acting.
Like many contemporary historical
romances, 1.-THE Crisis" was a play
slyly masquerading as a novel. once
the disguise was cast off and the book
afforded a stage version one saw the
truth. 1t was not a dramatization, but
restoration. The novel is dying a
lingering death. The play seems des-
tined to many such popular revivals as
that accorded 1t at the Burbank yes
terday afternoon.
Winston Churchill approached the
civil war as theme singularly free
from many Of the honest and hearty
prejudices which have made other
stories of the time the records of pas
sionate conviction rather than uncol-
ored narratives. He understood and
loved both north and south. He had
his prejudices, as any healthy man
has, but he shrewdly tanned them,
even while he deemed them just, in the
interest of both historical and human
accuracy. In 1.-THE Crisis" we see Mis-