Evening star. [volume] (Washington, D.C.) 1854-1972, 1910-11-29

much that was hard to understand In
their makeup becomes quite clear. Inc
reformation of Alias Jimmy Valentine in
the play could not prevent him from lib
Grating flock of crooks on the current
stage, who have lacked both the pictur-
esqueness of personality and the moral
tone which raise him from the level of
the commonplace criminal. Compared to
most of the mild outlaws who have been
displaying their literary offerings across
the footlights, Alias Jimmy is as Robin
Hood to an ordinary vag with temporary
finery obtained by raid on a convenient
clothesline. Jimmy is the artistic crook. in
the class of Capt. Swift, Rallies Arsene
Lupin, and with a touch OF refinement
in his character which none of those
celebrities of crime romance were
able to attain. The o. Henry story by
which Mr. Armstrong; play was in
spired provides the really essential ele-
ment of novelty-the sincere struggle
against circumstance of the social out
cast who finds himself eager for reform
and is constantly swept back by his
old associations. The dramatist has
contributed actions and situations
whose ingenuity is worthy Of the origi-
nal authorship of the story. Despite
their intimate relationships, the two
productions occupy distinct places. the
one as a popular drama and the other
as a finely wrought creation oe fiction
Mr.. Armstrong proceeds with the meth
DDS of the criminologist as we'll as those
to advocate a universal scheme of philan-
thropy for convicts, but he does show
clearly and convincingly the deadly check
which the stool pigeon system" must
exercise on the exceptional criminal who
may be honestly anxious to obliterate his
past.
Any sociological purpose which may
appear is entirely subordinate to the
first duty of a melodramatist. that of
providing thrills. They are not of the
l., hr,S otf tot 1AG hU
quick and clever turns of incident, I'M
expected yet logical episodes which keep
the attention alert and the mind salts
fed.
In its sentimental element the play
makes unlimited demands on the au-
ditor'S credulity: the meeting of young
and refined woman with brow-beaten
convict being rather a difficult basis for
love scenes, even admitting great graft
tude on her part for a chivalrous rescue
in the past. The conservative banker
who accepts ex-convicts as trusted en-
ployes also strains the probabilities. But
the skill Of the dramatist is most surely
tested by his ability to make extraordl-
nary things seem plausible.
The acting of Mr.. H. 3. Warner is
the keynote of the performance His
intense quietude and unaffected pathos.
as we'll as his virile energy in the
more robust scenes, make his portrayal
a work Of genuine artistic Importance.
Frank Monroe plays the part OF the
detective with consummate poise. and
offers the hero of the story duelisr
in the combat Of wits, worthy of his best
skill Excellent character bits are con-
tributed by Edward Bayes and Charles
f. Davis. The children's scenes were
well brought out by little Donald Gal
laher and Alma Sedley. Faner Ais
worth and Bill Avery as Jimmy's pals
and Theodore Marston as the prison
warden were all cOnvincinEly in evil
dence in important scenes The play
is a "thriller"-but one whose mechan-
ism is so cleverly adjusted that it re-
veals the best gifts Of the plot con-
structor and of the character delinea-
tor.